PLEASE DO NOT SEND ADDITIONAL ENTRIES. The entries published here are only the ones for which I have somewhat respectable bibliographic entries at this time. I have much more information for these and for additional entries which will be added as I get around to it. I didn't set out to compile a bibliography -- or, more properly, an iconography. This list is just what happens to be lying about the house. It is very much a work in progress, but if I waited until everything was perfect, it would never appear.
However, I would appreciate corrections -- wrong page references, for example. Send corrections to
Mary Rasmussen
Music Department
University of New Hampshire
Durham NH 03824 (USA)
I am singularly error-prone, alas, and I am sure that there are numerous mistakes in this list. I am quit capable of looking at page 257 and writing down 277, and I seem to have difficulty telling right from left. Sorry.
The purpose of this iconography is to answer the question "Where can I find an illustration of ...?" I have included only works of art for which there is a published reproduction (plus some that are in the Visual Collection, Fine Arts Library, Harvard University and a few in the Bild-Archiv Photo Marburg).
Many thanks to the UHN Music Department for putting this index on their web page.
[Highmore Pa] Highmore, Joseph (1692-1780). Portrait of Miss Anne Chaplin. New York art market (1942). Includes a two-manual harpsichord (no cheek pieces at the ends of the keyboard). (Thowal sale, Parke-Bernet, New York, 28.V.1942)
[Highmore Pa] _______. The Carter Family. London art market (1934). Includes an odd keyboard instrument. (Alington sale [Aubrey-Fletcher collection], Christie's, London, 12.XII.1934, no. 110)
[Hogarth Pa] Hogarth, William (1697-1764). The Western Family. Dublin NGI. Includes an unplayed harpsichord. (B. Boydell. Music and Paintings in the National Gallery of Ireland. Dublin 1985. p. 41; T. MacGreevy. Pictures in the Irish National Gallery. London [1946]. pl. 26; S. Sitwell. Conversation Pieces London 1936. pl. 14 [fair reproduction], as ca.1735; exh London RAA 1934: British Art. Commemorative Catalogue. Oxford 1935. no. 58, pl. XXIV, as ca.1735)
[Jervas Pa] Jervas, Charles (ca.1675-1739). Lady Mary Wortley-Montague with a Clavicytherium. Dublin NGI. (B. Boydell. Music and Paintings in the National Gallery of Ireland. Dublin 1985. pl. 5 [ok color reproduction], p. 34 [b&w reproduction])
[Latham Pa] Latham, James (1696-1749). Two Ladies at a Harpsichord. private collection. (Connoisseur 172 [1969] 236 [fair reproduction]; loan exhibit of Irish portraits, 1969-70: cat. no. 21, p. 36. as ca. 1740. Notes that the sitters are unknown, perhaps Anne, wife of John Leslie and her sister Sarah, who married John Rowan. Suggests that the harpsichord is Italian.)
[Thornhill Pa] Thornhill, Sir James (1675/76-1734). Portrait of the Young George Frideric Handel (1700). Cambridge, Fitzwilliam Museum. At the keyboard (the rest of the instrument not visible). unimp. (MGG V, col. 1230)
[Vanderbank Pa] Vanderbank, John (1694-1739). Anastasia Robinson, Countess of Peterborough (ca.1692-1755) (1723). private collection. She was a singer, shown here with a 2-manual harpsichord. (Imago musicae 9-12 [1992-95] 212. Notes it was probably based on Kneller's portrait of Lady Elizabeth Cornwell as St. Cecilia [private collection].) Mezzotint engraving by John Faber, Jr. (1727). (Imago musicae 9-12 [1992-95] 217; MGG XI, Taf. 21)
[BI London] Collins, James (fl. ca.1715). Passe-partout title-page border. engraving. With garlands of musical instruments, a harpsichord (partly visible) at the bottom, and putti playing lute and straight trumpet (wreath in other hand) at the top. (MGG VII, col. 921, for Robert King, ongs for One, Two and Three Voices. London, J. Crouch, [1690?]; MGG X, Taf. 88, for Giovanni Porta, Songs in the Opera Call'd Numitor. London, J. Walsh [1720]; MGG V, Taf. 56, for Handel,The Opera of Roxana or Alexander in India. London, J. Walsh, [1726])
House Concerts/Chamber Music/Rehearsals: [BI London 1688] Anon. ("Gui: Paychan Sculp:"). Title Vignette from John Playford, The Banquet of Musick. London, printed by E. Jones for Henry Playford ..., 1687. engraving. Women sing and play a rectangular keyboard instrument. A man plays a violin. (R. King. Henry Purcell. London 1994. p. 157 [small reproduction of the entire title page], as 1687; Musica calendar 1964. [title vignette], as 1688)
[Heins Pa] Heins, John Theodore (1697-1756). House Concert/The Astley Family and Friends at Melton Constable. private collection. Men play harpsichord, five violins/violas, cello, double bass and two flutes. (Burlington 103 [1961] 320. Notes exhibition, Norwich, Castle Museum, 1961: Music and Painting; Imago musicae 2 [1985] 57, as 1734?; The New Grove vol. 4, p. 115 [poor reproduction]; MGG XII, col. 1718 [poor reproduction])
[Hogarth Pa] Hogarth, William (1697-1764), attr. The Singing Party. Washington NGA. Three men and a boy sing, accompanied by men playing a harpsichord and a bassoon. (Early Music 8 [1980] 383, as British, ca.1740)
[Hogarth Pr] _______. Chamber Ensemble. engraved concert ticket. Inscribed "Mary's Chappel/Five at Night." Men playing harpsichord (bentside curve on the wrong side), 3 violins or 2 violins and viola (one tuning), cello, double bass, flute, oboe (?) and singing and/or conducting. (R. Paulson. Hogarth's Graphic Works. New Haven 1964. cat. no. 219, pl. 259; Early Music 6 [1978] 556)
[M II Laroon Dr] Laroon, Marcellus (the Younger) (1679-1772). House Concert (1735). Birmingham, City Museum and Art Gallery. drawing. Includes a woman who may sing, and men playing harpsichord, violin and flute. (R. Raines. Marcellus Laroon. London 1967. cat. no. 54, p. 174 [fine reproduction])
[M II Laroon Dr] _______. House Concert (1733). Cambridge, Fitzwilliam Museum. drawing. Men play harpsichord (bentside curve on the wrong side) and two violins. A woman may sing. (R. Raines. Marcellus Laroon. London 1967. cat. no. 50, p. 129 [minuscule reproduction]; sale, Randall Davis sale, Sotheby's, London, 11.II.1947, as Party at Montagu House). Sketch for this (1733) in the Henry E. Huntington Library and Art Gallery (Raines. cat. no. 51, p. 169; R. R. Wark. Early British Drawings in the Huntington Collection. San Marino CA 1969. unnumbered pl. [fine reproduction])
[M II Laroon Dr] _______. House Concert. London BM 1959-7-11-2. drawing. Men sing and play harpsichord, violin and cello. (R. Raines. Marcellus Laroon. London 1967. cat. no. 85, p. 176 [fine reproduction]) Another version (1736), as Concert at Montagu House. London BM 1949-7-8-207. drawing. (Raines. cat. no. 55, p. 175 [fine reproduction]; S. Sitwell. Conversation Pieces London 1936. pl. 78 [ok reproduction]; Imago musicae 2 [1985] 55 [ok reproduction])
[M II Laroon Pa] _______. House Concert. private collection. A woman sings and men play harpsichord, violin and lute. (R. Raines. Marcellus Laroon. London 1967. cat. no. 27, p. 198 [fine reproduction], as ca.1760; Connoisseur 140 [1957] 243 [poor reproduction], as after 1748; Imago musicae 2 [1985] 59)
[M II Laroon Pa] _______. A Tea-Party called "Royal" Assembly at Kew Palace(1740). Coll. H. M. the Queen, Kensington Palace. A woman may sing and men play harpsichord and violin. (R. Raines. Marcellus Laroon. London 1967. cat. no. 4, p. 180 [dark reproduction])
[M II Laroon Pa] _______. House Concert. private collection. Includes women singing and playing harpsichord and men playing two violins, cello, lute and oboe. (R. Raines. Marcellus Laroon. London 1967. cat. no. 10, p. 157, as 1715-20; Connoisseur 140 [1957] 242 [poor reproduction]) Etched by Cruikshank (1819).
[M II Laroon Pa] _______. House Concert/A Musical Conversation at Montagu House, Whitehall. private collection. Includes a woman playing harpsichord and men singing and playing violin, cello (pausing) and lute. (R. Raines. Marcellus Laroon. London 1967. cat. no. 28, p. 199 [fine reproduction]), as ca.1760; S. Sitwell. Conversation Pieces London 1936. pl. 76 [ok reproduction])
Operatic/Theatrical Scenes: [M II Laroon PA] Laroon, Marcellus (the Younger) (1679-1772). A Play or Opera. London art market (1946). With an orchestra in the pit, including a harpsichordist. (sale, Sotheby's, 8.V.1946; Burlington 88 [1946] May ad p. xi [miserable reproduction])
Other: [Hogarth Pr] Hogarth, William (1697-1764). Rakewell Surrounded by Hangers-on, from The Rake's Progress, pl. 2. engraving. Includes a man playing a harpsichord (marked "I. Mahoan Fecit"), his French dancing master brandishing a pochette and its bow, and his huntsman sounding his horn. (R. Paulson. Hogarth's Graphic Works. New Haven 1965. cat. no. 133, fig. 140 [third state], fig. 245 [unfinished proof of the first state, 1735]; R. Paulson. Hogarth: His Life, Art, and Times. New Haven 1971. vol. I, pl. 121; Haas Aufführungspraxis. p. 177; Hirth no. 2973; D. Kunzle. The Early Comic Strip ... vol. I. Berkeley 1975. p. 309; MGG vol. III, Taf. 57; Hamburger Jahrbuch für Musikwissenschaft 12 [994] 234; The Musical Quarterly 57 [1971] 420) The painting (1735) is in London, Sir John Soane's Museum. (R. Paulson. Hogarth ... vol. 2. New Brunswick NJ 1992. pl. 16 [fair reproduction])
Musicians (amateur and professional): [Savile Dr] Savile, Lady Dorothy, Countess of Burlington (1699-1758). "Girl at Spinet with an Owl in a Cage." Chatsworth, Devonshire Collection, Drawing Album no. 26, p. 12. drawing. She plays a pentagonal spinet. Birds fly about the owl's cage. (Imago musicae 2 [1985] 127 [ok reproduction])
[Douven Pa] Douven, Jan Fransz van (1656-1727). Portrait of the Abbot Moratelli. Munich AP, Inv. 1401. He is at the keyboard. unimp. (van Dijck-Koopman no. 237)
[Myn Pa] Myn, Herman van der (1684-1741). Portrait of Carew Hervey Mildmay (1690-1784) (1733). London art market (1959). He stands beside a harpsichord. (Connoisseur 143 [1959] 42 [fair reproduction])
[Quinkhard Pa] Quinkhard, Jan Maurits (1688-1772). Conversation Piece (1715). Arnhem, Gemeentemuseum. Incudes a small harpsichord placed on a table. (Gemeentemuseum Arnhem. Schilderijen. [Arnhem] 1965. no. not recorded)
[Troost Pa] Troost, Cornelis (1697-1750). Family Group in an Interior/Conversation Piece (1739). Amsterdam RM, inv. A3453. The mother has one hand on the keyboard of a harpsichord and points to music with the other. (A. Staring. De Hollanders thuis ... 's-Gravenhage 1956. pl. XXIII. Notes that it is not a Dutch interior.; van Dijck-Koopman no. 246)
[Troost Pa] _______. Mother and Child in an Interior (1737). location unknown. There is apparently a harpsichord in a back room. (van Dijck-Koopman, no. 245. The instrument is not visible in this reproduction.)
[Verkolje Pa] Verkolje, Jan (1650-1693). The Family of Johan Reyniersz (1671). Zürich KH, inv. no. R.39. They are costumed as cavaliers and ladies, with women singing and playing a virginal (?) and men with violin and flute. (van Dijck-Koopman no. 228. Notes copy, Muller, Amsterdam, 1906.)
Instrument Builder/Repair Workshop: [BI Amsterdam 1694] Luiken(Luyken), Jan (1649-1712). The Organ Builder, from Spiegel van het Menselijk Bedrijf. Amsterdam, Johannes en Caspaares Luiken 1694. etching/engraving. There is also a clavichord on a workbench. Virtually the same print appears in Christoph Weigel, Abbild und Beschreibung der gemeinnützlichen Haupt-Stände ... Regensburg 1698 (see entry, below). (van Dijck-Koopman no. 227, with imprint date 1691)
Parties/Music Parties: See also Portraits, Genre Portraits and Conversation Pieces.
[Troost Pa] Troost, Cornelis (1697-1750), attr. Music Party. Zanesville O, Art Institute. There are several singers and men playing harpsichord, violin and two alto (?) oboes. There is an unplayed small double bass or cello. Also attributed to one of the Horemans family. (Vis. Coll. 374.T753.90[a])
Animals: [Pool Pr] Pool, Mathijs (1670-1732). A Concert of Monkeys. engraving. One of them (a female) plays a harpsichord. (van Dijck-Koopman no. 240)
Musicians (amateur and professional): [BI Amsterdam 1694] Luiken (Luyken), Jan (1649-1712).. "De Musikant," from Spiegel van het Menselijk Bedrijf. Amsterdam, Johannes en Caspaares Luiken 1694. etching/engraving. The musician plays a lute. There is an unplayed cello leaning on what may be a rectangular keyboard instrument. A viola (?), a lute and a pommer hang on the wall. Virtually the same print appears in Christoph Weigel, Abbild und Beschreibung der gemeinnützlichen Haupt-Stände ... Regensburg 1698 (see entry, below). (P. Fischer. Music in Paintings of the Low Countries in the 16th and 17th Centuries. Amsterdam 1975. p. 99, with imprint date 1691)
[van Dijk Pa] Dijk, Philip van (1680/1683-1753). Musical Couple. location unknown. She is at the keyboard, he has a violin. There is perhaps an organ. (van Dijck-Koopman no. 241)
[Palthe Pa] Palthe, Gerard Jan (1681-1767). Two Women Making Music. private collection. One sings, the other plays a clavicord. (van Dijck-Koopman no. 242)
[Verkolje Pa] Verkolje, Jan (1650-1693). Couple in an Interior. Louisville KY, J. B. Speed Art Museum, inv. 58.3. She holds a cittern. He sits at a virginal, but turns his back to it and gestures toward an unplayed bass viol. (van Dijck-Koopman no. 231, as 1674) Another version (private collection). (exh Philadelphia, etc., 1984: Masters of Seventeenth-Century Dutch Genre Painting. no. 115, pl. 122 [ok color reproduction], as probably 1674; van Dijck -Koopman no. 153)
[Verkolje Pa] _______. A Man Seated in a Chair and a Woman Playing a Clavichord. location unknown. (van Dijck-Koopman no. 232. Notes sale, Roos, Amsterdam, 6.XI.1917, no. 71)
Putti: [BI Amsterdam 1701] Anon. Title-page engraving for vol. 3 of Evaristo Gherardi's Theatre italien. Amsterdam, A. Braakman, 1701. engraving. Putti conduct and play two-manual harpsichord, viola da braccio, cello, chitarrone and flute. unimp. (R. M. Haas Aufführungspraxis der Musik. Potsdam 1931, R/1949. p. 205)
[Snyers Pa] Snyers, Peter (1681-1752). Portrait of the Family of Samuel Tufnell. private collection. Daughter Mary Anne plays a harpsichord and son John plays a cello. (Antwerp KMSK Jaarboek 1967. p. 217)
House Concerts/Chamber Music/Rehearsals: [Bossche Pa] Bossche, Balthazar van den (1680/81-1715). Allegory. Dijon, Musée des Beaux-Arts. In a back room women sing and play harpsichord and lute. (Antwerp KMSK Jaarboek 1967. p. 204, as L'Orfèvre [The Goldsmith])[J J Horemans I Pa] Horemans, Jan Josef I (1682-1759)? Music-Making in an Interior. Dijon MBA. There is a singer, and women play harpsichord and bass viol (impossible pose) while men play violin and double bass. Perhaps more. (exh Dijon MBA, Palais des Etats de Bourgogne, 1965: La musique dans l'art ancienne. no. 44, pl. IX; van Dijck-Koopman. no. 252, as Jan Josef II Horemans; Antwerp KMSK Jaarboek 1967. p. 256 [fair reproduction], as attr. Jacob Philipp Santvoort [doc. 1711-1722])
[J J Horemans I Pa] _______. Music-Making in an Interior. location unknown. Women sing and play harpsichord. Men play violin and cello. (sale, Helbing, Munich, 15.VI.1909 [fair reproduction])
Musicians (amateur and professional): [Fisen Dr] Fisen, Engelbert (1655-1733). A Woman at the Harpsichord. Liège, Cabinet des estampes et dessins. drawing. A design for a harpsichord lid. (van Dijck-Koopman no. 236)
St. Cecilia: [BI Paris ca.1690] Lesclop, Henry. "Cantantibus organis Coecilia Domino decantabat," title-page illustration of Gilles Jullien, Premier Livre d'orgue. Paris, H. Lesclop, etc., ca. 1690. engraving. The saint plays a chamber organ as two young angels sing. There is an unplayed two-manual harpsichord behind her. (Fraenkel no. 111 [ok reproduction]; Kinsky p. 192 [for Nicolas Lebègue, Second livre d'orgue. Paris, P. Baillon, ca.1680]; Mirimonde Sainte Cécile. pl. 112; MGG VII, col. 379 [fair reproduction]; Musique-Images-Instruments 2 [1006] 100 [ok reproduction] [for Nicolas Lebègue, Les pièces d'orgue, vol. III. Paris, Baussen, ca.1685])
Muses: [J F de Troy Pa] Troy, Jean François de (1679-1752). Bellona and the Muses. Brussels art market (1928). With numerous musical instruments, including a keyboard. (Fleche-Martin sale, Fievez, Brussels, 21.II.1928 [poor reproduction])
Hearing (Five Senses): [Mercier Pa] Mercier, Philippe le (1689-1760). Hearing, from a Four (sic) Senses series. New Haven, Yale Center for British Art, Paul Mellon Collection? Women play harpsichord (? -- shallow instrument) and cello and men play violin and one-keyed flute. (exh Richmond, Virginia Museum of Fine Arts, 1963: Painting in England 1700-1850. Collection of Mr and Mrs Paul Mellon. no. 204, pl. 130)
Music/Poetry/Liberal Arts: [Coypel-Edelinck Pr] Gerard Edelinck (1640?-1707) after Antoine Coypel (1661-1722). Allegory of Music. engraving. The personification of Music plays a lyre. Children sing and play a keyboard instrument, lute and recorder. unimp. (Mirimonde Iconographie musicale. vol. I, no. 21; van Dijck-Koopman. no. 239 [ok reproduction])
[Anon.-Lempereur Pr] Louis Simon Lempereur (1728-1808) after an anonymous painter. Portrait of Louis-Nicolas Clérambault (1676-1749). engraving. He composes at the keyboard of a two-manual harpsichord. (The New Grove IV, p. 492 [ok reproduction])
[Largillière Pa] Largillière, Nicolas de (1656-1746). Adelaïde de Gueydan (Guiedan) and her Sister. Aix-en-Provence, Musée Granet. One of them is seated at a harpsichord. A seven-string bass viol leans against the harpsichord. (J. G. Martial and M. F. Braive. Aix-en-Provence. Paris [1955]. unnumbered p., as ca.1740; Pincherle p. 80 [fine reproduction, as Guiedan]; C. Maricheau-Beaupré. L'art au XVIIème Siècle en France. 2e periode. 1661-1715. Paris 1947. no. 159, as Gueydan; Vis. Coll. 375.L324.7Gu)
[Largillière Pa] _______. Portrait of Marguerite de Sève, wife of Jean-Paul Pupil (1729). San Diego, Timken Art Gallery. She stands beside a (two-manual?) harpsichord and delicately turns a page of music on the music rack. (Musique-Images-Instruments 3 [1997] 73. Identifies the music as Lully's chanson "Buvons, buvons chers amis," from a collection of airs à boire with lute tablature.)
[Mercier Pa] Mercier, Philippe le (1689-1760). Prince Frederick Louis, Prince of Wales, Son of George II and his Sisters Anne the Princess Royal, Caroline and Amelia. London NPG. Frederick plays the cello, Anne the harpsichord and Caroline the mandore. Amelia reads. (E. Ralph. "Mercier's music party." Burlington 90 [1948] 308-312, this reproduced p. 309. Notes that the appearance of domestic harmony is deceptive. The siblings weren't speaking to one another in 1733; S. Sitwell. Conversation Pieces London 1936. pl. 83 [fair reproducton], as 1733; M. Remnant. Musical Instruments of the West. London 1978. p. 64; C. Saumaraz Smith. The National Portrait Gallery. London 1997. pp. 88-89 [splendid color reproduction, but across page crease]; Early Music 13 [1985] 497 [fair reproduction])
[Mercier Pa] _______. Portrait of George Frideric Handel. private collection. He is seated at the harpsichord (very partly visible, random black keys). unimp. (The New Grove vol. 8, p. 90)
[Nattier Pa] Nattier, Jean-Marc (1685-1766). The Painter and his Family. His wife is seated at a two-manual harpsichord. (D. Diderot. Salons, 1759, 1761, 1763. Oxford 1975. It was exhibited at the salon of 1763 and got poor notices. Must have been painted from memory since his wife died in 1742 and his children would have been grown in 1763; Musique-Images-Instruments 3 [1997] 64, as painted 1730-1762. The harpsichord belonged to Nattier's wife, Marie-Madeleine de La Roche, and was built by Nicolas Dumont; Revue du Louvre 16[1966] 155; Vis. Coll. 375.N218.7N
[Nattier Pa] _______. Portrait of Mme Henriette de France, Daughter of Louis XV (1754). Versailles, Musée du château. She plays a bass viol. There is an unplayed two-manual harpsichord. (Kinsky p. 238 [poor reproduction]; exh New York, Metropolitan Museum of Art, 1935-36: French Painting and Sculpture of the Eighteenth Century. pl. 19 [fair reproduction]; Connoisseur 89 [1932] 53 [fair color reproduction]; Revue du Louvre 16 [1966] 149 [small reproduction]. Notes was painted two years after her death, 10 February 1752. The one in Versailles perhaps a replica for the Dauphine; Vis. Coll. 375.N218.6H) Copy: Versailles, Musée du château. This is a half-length portrait, with the harpsichord moved closer to the viol-playing sitter. (Revue du Louvre 16 [1966] 150. Notes the music on the keyboard instrument is "Aoust Vénus et Adonis. Cantatille," by M. de Lagarde, which appeared in the Journal de Musique in late 1758 or 1759, giving a terminus ante quem for this copy. Reproduces the corresponding page of music, p. 151) Copy: New York art market (1956). (Connoisseur 138 [1956] December ad p. lxxv)
[Nattier Pa] _______. Portrait of the Composer Pancrace Roger. location unknown. Includes an unplayed harpsichord and a violin and bow (all only partly visible). unimp. (Musique-Images-Instruments 3 [1997] 65, as ca.1740-50, writing one of the scenes of his opera Zaïde [1739])
[Santerre Pa] Santerre, Jean Baptiste (1651-1717). Portrait of a Woman and her Daughter. Moscow, Pushkin Museum. The woman has her hand on a harpsichord and the daughter holds a music book. (Gazette des Beaus-Arts 72 [1968] 133 [small reproduction])
[Trouvain Pr] Trouvain, André (1656-1708). "Mademoiselle de Mennetoud." engraving. Françoise-Charlotte de Senneterre (Mademoiselle de Mennetoud) (b.1680), an elegantly dressed lady in an elegant interior, plays a harpsichord. Engraving in the syle of a costume/character series. (W. Braun. Die Musik des 17. Jahrhunderts. Wiesbaden 1981. [Neues Handbuch der Musikwissenschaft, 4] p. 246 [ok reproduction]; Musiques-Images-Instruments. 2 [1996] 110, as before 1692 [she was precocious])
[J F de Troy Pa] Troy, Jean François de (1679-1752). The Family de Franqueville (1711). Douai, Musée de la Chartreuse. One of the daughters plays a two-manual harpsichord. (Musiques-Images-Instruments. 2 [1996] 109 [ok reproduction]; Revue du Louvre 14 [1964] 237; Burlington 113 [1971] April Supplement p. viii, as François de Troy; Burlington 96 [1954] July ad p. x, as François de Troy)
[J F de Troy Pa] _______, attr. Conversation Piece. Paris art market (1958). Includes a woman at a two-manual harpsichord and youths with a cello and a flute. (Brousse sale, Fievez, Brussels, 25-26.VI.1924 [fair reproduciton]; sale Charpentier, Paris, 15-16.12.1958 [fair reproduction, Fievez is better])
[Watteau Dr] Watteau, Antoine (1684-1721). Portrait of Jean-Féry Rebel. Dijon, Musée Magnin. drawing. He is writing at the harpsichord. There is an unplayed violin. The drawing is in very poor condition. (Musiques-Images-Instruments 3 [1997] 67. Notes [p. 66] that there are two drawings, one in Dijon and one in an American private collection [ex coll. David Weil], which is probably a copy.; Vis. Coll. 375d.W198.5R) Engraved by Jean Moyreau (1690-1762). (Dufourcq Musique. vol. I, p. 300; Kinsky p. 220; Early Music 11 [1983] 455, as Moyreau after Valeau)
[Boyer Pa] Boyer, Jacques de (doc.1696). Still Life with Musical Instruments (1696). location unknown. Includes a spinet, bass viol, lute and music books. (Pisa sale, Circolo artistica, Venice, Sept. 1938 [fair reproduction]; Catalog of the Pisa collection. Milan 1937. pl. CXXII [fair reproduction])
[BI Paris 1705] Roussel after Desmarest. Title page of Jean-François Dandrieu, Livre de sonates en trio. Paris, the Composer, 1705. engraving. A passe-partout border with many musical instruments, including a harpsichord across the bottom. (Fraenkel no. 124; Early Music 6 [1978] 113 [border only]; Musique-Images-Instruments 2 [1996] 102 [small reproduction])
[BI Paris 1709] Roussel after Desmarest. Title page border of Marc-Antoine Charpentier, Motets melez de symphonie. Paris, Jacques Édouard, 1709. engraving. Full of musical instruments, including a two-manual harpsichord (not well depicted). (Dufourcq Musique. vol. I, p. 290; Fraenkel no. 119 [ok reproduction]; Pincherle p. 102 [fine reproduction, very slightly cropped]; MGG II, col. 1111 [fair reproduction])
[Bouys Pr] Bouys, André (1656-1740). Caecilia de Lisorez./Vide & audi. mezzotint. Includes a bas-de-page border with many musical instruments, including a two-manual harpsichord (only a tiny bit visible). (Early Music 16 [1988] 332)
Concerts: [Gillot Dr] Gillot, Claude (1673-1722). Concert in a Formal Garden. Paris art market (1989). drawing. There is a substantial chorus and orchestra, including a woman playing a harpsichord. (Burlington 131 [1989] July ad p. v [small color reproduction])
Fêtes/Danses Champêtres: [Raoux School Pa] Raoux, Jean (1677-1734), School of. Concert champêtre. location unknown. A woman plays a keyboard instrument and men play two or three violins, double bass, lute, flute and oboe. They are all bunched together rather like a group portrait. (Sale, Drouot, Paris, 18.III.1908 [poor reproduction])
Garden Parties: [Mercier Dr] Mercier, Philippe le (1689-1760). Garden Party. London BM. drawing. Women play harpsichord and a plucked stringed instrument and a man plays a cello. Compare this with the related group in Prince Frederick Louis, Prince of Wales, Son of George II and his Sisters Anne the Princess Royal, Caroline and Amelia (London NPG) listed under Portraits, above. (Burlington 90 [1948] 310)
[Picart Pr] Picart, Bernard (1673-1733). Concert champêtre/A L'ombre des bosquets ... (1708). engraving. A pastiche-like composition with three musical groups: a man and woman singing, a woman playing harpsichord and men playing a flute and two recorders, and men playing violin and bass viol. (D. Posner. Antoine Watteau. Ithaca NY 1984. p. 126; exh Washington DC, National Gallery of Art, 1984: Watteau ... Ed. M. M. Grasselli and P. Rosenberg. p. 496 [small reproduction, not exhibited]; Early Music 4 [1976] 18 [detail, without the violin and viol duo], as 1709). Copy (compressed) by Karl Remshard (1678-1735), who has chopped off the back end of the harpsichord. (MgB IV/3, p. 84 [ok reproduction]) The harpsichord and flute players are also copied (from Remshard -- the back end of the harpsichord is even more chopped off) on a painted enamel beaker by Johann Jakob Priester (d. Ä) (d.1726) (Hamburg, Museum für Kunst und Gewerbe). On the beaker there are also a woman playing a lute and a man playing a bass viol. (H. Kohlhausen. Geschichte des deutschen Kunsthandwerks. Munich 1955. p. 517 [flute and keyboard players], as ca.1720; MgB IV/3, p. 85 [fine color details including all four instruments]; Early Music4 [1976] 17 [flute and keyboard players])
House Concerts/Chamber Music/Rehearsals: [Dr Paris BN] Anon., ca. 1695. House Concert. Paris BN CdE. drawing. Includes a singer and two women playing a double harpsichord (two keyboards at each end, rectangular instrument). (Musique-Images-Instruments 2 [1996] 109 [tiny reproduction])
[Lancret Pa] Lancret, Nicolas (1690-1743). Concert in a Salon/Le concert chez Crozat à Montmorency. Munich AP. Women sing and play harpsichord; men play five violins (violins/violas), cello, double bass, bassoon and oboe. (M. T. Holmes. Nicolas Lancret. New York 1991. p. 58 [minuscule reproduction]; Lesure pl. 18 [English], 20 [German]; Gazette des Beaux-Arts 105 [March 1985] La chronique des arts no. 1394, p. 17; Gazette des Beaux-Arts 72 [1968] 25 [ok reproduction]) There is a pendant to this in a private collection, with a similar ensemble (fewer violins) performing in the grand galerie of Crozat's Paris hôtel on the Rue de Richelieu . (M. T. Holmes. Nicolas Lancret. New York 1991. p. 59 [color reproduction], as ca. 1720-1724; Musique-Images-Instruments 3 [1997] 78, and color detail on the cover, as Concert chez Pierre Crozat, dans sa maison d'Enghien, a performance of a cantata. As ca. 1720-24 [the painting]; Burlington 111 [1969] Oct. Supplement p. iv) The version in the private collection has a statue in a niche at the left edge of the composition. The version in Munich has a stool in the left center foreground.
[Lancret Dr] _______. House Concert. location unknown. Women sing and play harpsichord and bass viol. Men play violin, bass viol and flute. (Brenner sale, DeVries, Amsterdam, 14.XII.1911 [ok reproduction])
[Mercier Pa] Mercier, Philippe le (1689-1760). House Concert. London Tate. Includes a woman at the harpsichord and men playing violin, cello and oboe (only the reed visible). unimp. (sale Sotheby's 7.VII.1965, lot 74; Gazette des Beaux-Arts 71 [February 1968] La chronique des arts no. 1189, p. 106)
[Mercier Pa] _______, attr. Four Figures Making Music. Paris art market (1962). Includes a woman playing harpsichord and men gesturing and playing cello and violin. (sale, Palais Galliera, Paris, 28.VI.1962; Vis. Coll. 375.M539.90[c]) A poor copy (British art market) (Connoisseur 166 [1967] September ad p. xxxix)
[Mercier Pa] _______. House Concert. London art market (1968). Women sing and play a two-manual harpsichord. Men play two violins, lute and flute. (sale, Christie's, London, 21.VI.1968, lot 94 [fair reproduction])
[Octavien Pa] Octavien, François (1682-1740). House Concert. private collection. Includes a woman playing a harpsichord (bentside too short) and men conducting and playing violin and cello. (Mirimonde Iconographie musicale. vol. II., no. 39)
[Portail Dr] Portail, Jacques André (1695-1759). A Lady at the Harpsichord. location unknown. drawing. A man turns pages for her. unimp. (Decloux sale, Drouot, Paris, 14.15.II.1898)
[Watteau Pa] Watteau, Antoine (1684-1721), attr. House Concert (1703). New York art market (1929). A woman sings and men play 2 violins, viola da gamba, horn and flute. (Larache sale, American Art Association, New York, 21.III.1929 [cat. Illus poor])
Costume/Character Series: See also Portraits.
[Arnoult Pr] Arnoult, Nicolas (late 17th century). "Femme de qualite (sic) Jouant du Clavesin" (1683). engraving. She pays a two-manual harpsichord. (Imago musicae 4 [1987] 143)
[Joullain Pr] Joullain (Jollain), François (1697-1779). Dame de cour jouant du clavessin [sic]. engraving. She plays a virginal. (Mirimonde Iconographie musicale. vol. 1, fig. 117 =? F. Boucher. 20,000 Years of Fashion. New York n.d. p. 263 [small reproduction], as Anon., ca.1688)
Musicians (amateur and professional): [Le Coffre Pa] Le Coffre, Benoît (1671-1722). A Masquerade (1704). Copenhagen, Frederiksberg Slot, Riddersalen. trompe l'oeil ceiling painting. Musicians play keyboard, three violins (or two violins and viola), cello, oboe and two bassoons. (E. Lassen et al. Dansk kunsthistorie ... Copenhagen 1973. vol. II, pp. 342-343 [ok reproduction])
[Picart Pr] Picart, Bernard (1673-1733). "Ici d'un concert tout divin ... "/The Duo (1708). engraving. Two figures, a woman playing a harpsichord and a man playing a bass viol, look adoringly at one another. (exh Washington NGA, 1984: Watteau. p. 520 [small reproduction, not exhibited]. Notes that the woman's costume is Spanish.)
Putti: [BI Paris 1689] Bercy after Jean Dolivar (1641-1671/92). Frontispiece for Marin Marais, Basses continues. Paris 1689. engraving. With several musical putti, including one playing a keyboard instrument. (Mirimonde Iconographie musicale. vol. 1, fig. 101)
Saint Cecilia: [BI Vienna 1726] Franz Ambros Dietel (Dietell) (1682-1730/1737) after Joseph Neckh. Title engraving of Gottlieb Muffat, 72 Versetl. Vienna 1726. engraving. St. Cecilia sits at a positive organ (one or two angels work the bellows). There are unplayed harpsichord and cello. A putto plays a wind instrument. (R. M. Haas. Die Musik des Barocks. Potsdam 1928, R/1949. p. 259; Komma p. 149 [fair reproduction])
Hearing (Five Senses): [Engelbrecht Pr] Engelbrecht, Martin (1684-1756). "Auditus/Das Gehör." engraving. Chamber music, with women singing and playing a small, shallow keyboard instrument (clavichord?), and men playing violin, double-bass and flute. The instruments are poorly depicted. unimp. (MgB IV/3, p. 88)
Music/Poetry/Liberal Arts: [BI Mainz 1695] Anon. Title page of Johann Jakob Walther, Hortulus Chelicus ... Mainz 1695. engraving. A female figure plays a two-manual keyboard instrument (shallow, rectangular, with a concave distal end), and men play violin/viola, double bass (tuning) and perhaps one more instrument (not visible). The costumes are vaguely classical. (Fraenkel no. 135 [ok reproduction]; MGG XIV, col. 214 [fair reproduction])
[Denner Pa] Denner, Balthasar (1685-1749). The Artist and his Family. Copenhagen SMfK. Daughters stand at the harpsichord and hold a violin/viola. A son holds a (barely visible) violin, and the father's violin just peeks out of its drop-end case. (E. Lassen et al. Dansk kunsthistorie. Copenhagen 1973. vol. II, p. 392 [fair reproduction]; Statens Museum for Kunst. Katalog over aeldre malerier. Copenhagen 1946. p. not recorded [poor reproduction]; Jahrbuch der Hamburger Kunstsammlungen 16 [1971] 110 [small reproduction]; Riches sale, Sotheby, London, 29.XI.1950)
[Denner Pa] _______. The Family of Hendrik van der Does. private collection. A Dutch family from 's-Hertogenbosch. The father plays a harpsichord. (van Dijck-Koopman. no. 222a, as ca.1714)
[Marées Pa] Marées, George de (1697-1776). Portrait of Kurfürstin Maria Anna of Bavaria, born Princess of Saxony. Berlin, Gemäldergalerie der SMPK? She is at a two-manual harpsichord. A cello leans against it and there is a lute on the floor. (exh Darmstadt, 1914: Deutsches Barock und Rokoko. Ed. G. Biermann. vol. II, Abb. 661, as collection of the Emperor of Germany)
[Pesne Pa] Psene, Antoine (1683-1757). Portrait of Carl Heinrich Graun and his First Wife. Potsdam, Neues Palais. She plays a two-manual harpsichord and he tunes a lute. (W. Haacke. Am Klavier. Königstein im Taunus 1968. no. 41)
[Pesne Pa] _______. Portrait of Frederika Sophie Willhelmina (Sister of Frederick the Great). Lucerne art market (1957). Includes a harpsichord. (sale, Fischer, Lucerne, 25-29.VI.1957)
See also Miscellaneous Figures, Putti.
[BI Leipzig 1695?] Anon. Title page of Johann Kuhnau, Neuer Clavier-Ubung, Erster Theil. Leipzig, the composer, [1695?]. engraving. A harpsichord lies on a slab beneath a portrait of the composer. (Fraenkel no. 138, as 1695?; R. M. Haas. Die Musik des Barocks. Potsdam 1928, R/1949. p. 268, as 1689)
[BI Leipzig 1696] Anon. Title page of Johann Kuhnau, Frische Clavier Früchte. Leipzig 1696. engraving. The most important object is a shallow, rectangular keyboard instrument lying on a slab. I guess it's supposed to represent a clavichord. (R. M. Haas. Die Musik des Barocks. Potsdam 1928, R/1949. p. 261, from the edition of 1696. A crisp engraving, no inscription on the slab.; Fraenkel no. 139, from the edition of Dresden and Leipzig, Johann Christoph Zimmermann, 1703. A thick engraving, inscribed Henry John Gauntlett on the slab.)
[BI Leipzig 1710] Anon. Title page of Johann Kuhnau, Musicalische Vorstellung einiger Biblischen Historien. Leipzig, the composer, 1710. engraving. Includes a woman at a chamber(?) organ, and an unplayed clavichord(?) across the room. (Kinsky p. 179)
Pageants: [Dr Dresden KsK] Anon., ca. 1719. Water fete with the Arrival of Diana and her Nymphs in a Barge, from "Recueil des dessins et gravures represantant les solemnités du mariage de ... le prince Frédéric Auguste, Prince royal de Pologne, Elect. de Saxe et de ... Marie Josephe arch-duchesse d'Autriche, en 1719." Dresden, Staatliche Kunstsammlungen, Kupferstichkabinett. drawing. Includes the Dresden Hofkapelle under Johann David Heinichen (presumably presiding from the vaguely depicted keyboard instrument), performing his serenade Diana sull'Elba. (Bowles Musical Ensembles. fig. 203 [best reproduction so far]; Brüchle and Janetzky 1976. p. 116; MGG vol. 3, Taf. 18; The New Grove vol. 5, p. 618)
Processions/Cavalcades/Entrees: [Dr Dresden SK] German, early 18th century. Parnassus, from the "Grossen Aufzug zu Pferd und Fuss," from the "Karussel-Rennen" of the four parts of the Earth for the visit of Frederick IV of Denmark to the Court of August the Strong in Dresden, 19 June 1709. Dresden, Staatliche Kunstsammlungen, KsK. drawing. "Parnassus" is a horse-drawn float with musicians, including the Kapellmeister at the harpsichord. (MGG I, Taf. XXXV/1 [small reproducton]; Bowles Musical Ensembles. fig. 195)
Banquets: [CI Hamburg 1719] Fritzsch, Christian (1695-1769). Festive Banquet for the Bürgerkapitäne in the Drillhaus, Hamburg, 1719. engraving. The banquet is accompanied by a small orchestra, including a harpsichordist. (MgB IV/2, p. 55 [with detail]; MGG vol. 5, Taf. 59 [full page but useless for details, it needs a very large reproduction]; R. M. Haas Aufführungspraxis der Musik. Potsdam 1931, R/1949. p. 208 [miserable reproduction]; The New Grove vol. 8, p. 66 [useless reproduction])
[CI Vienna 1705] Pfeffel, Johann Andreas (1674-1750) and Christian Engelbrecht (1672-1735). The Imperial banquet table, Ritter Stuben, during ceremonies of Oaths and Allegiances to Emperor Joseph I as Archduke of Austria, 8 November 1705, from Johann Baptist Mairn von Mairsfeld, Beschreibung was auf Ableiben weyland Ihrer Keyserl. Majestät Joseph ... Vienna 1712. etching. There are musicians in a gallery. The left foreground figure is presumably a keyboard player (instrument not visible). (D. Altenburg. Untersuchungen zur Geschichte der Trompete im Zeitalter der Clarinblaskunst [1500-1800]. Regensburg 1973 [Kölner Beiträge zur Musikforschung, 75] vol. III, Abb. 25 [small reproduction]; Bowles Musical Ensembles. fig. 192, 192a [ok detail of the musicians], as allegiances to Emperor Charles VI; W. Braun. Die Musik des 17. Jahrhunderts. Wiesbaden 1981. [NHMw, 4] p. 45)
[Meytens Pa] Meytens (Meyten, Mytens), Martin van (1695-1770), and Workshop. Banquet for the Wedding of Joseph II of Austria and Princess Isabella of Parma, 1760. Vienna KH. The banquet is accompanied by members of the court orchestra, including a harpsichordist. (van Dijck-Koopman. p. not recorded; D. Heartz. Haydn, Mozart and the Viennese School ... New York 1995. p. 81 [miserable detail reproduction]. Notes G. and G. Mraz. Maria Theresia: Ihr Leben und ihr Zeit in Bildern und Dokumenten. Munich 1979.; Early Music 9 [1981] 290 [whole composition, useless], July front cover [fine color detail, including the harpsichordist)
Concerts (with orchestra): [Dälliker Pa] Dälliker, Johann Rudolf (1694-1769), attr. Concert in the Zunfthaus der Schuhmacher, Zürich (1753). private collection. The orchestra includes two harpsichords. (Die Kunstdenkmäler der Schweiz, 10: Kanton Zürich Stadt, I. Basel 1939. p. 443; MgB IV/2, p. 57 [poor reproduction, from the Zürcher Taschenbuch auf das Jahr 1911. 34 Jg. Title illustration]; The New Grove vol. 4, p. 618)
House Concerts/Chamber Music/Rehearsals: See also Allegory, Hearing (Five Senses); Allegory, Music/Poetry/Liberal Arts.
[BI Kassel 1698] Anon. Title page of August Kühnel, Sonate ò Partite ad una ò due Viole da Gamba con il Basso Continuo. [Kassel] 1698. engraving. A woman at a thoroughly botched keyboard instrument accompanies two bass viol players. (MGG VII, col. 1858)
[Dr Coburg Veste] German (Monogram K.H or K.M), ca.1700. Domestic Music-Making. Coburg, Kunstsammlung Vest, Inv. No.Z/510-K21. drawing. A woman plays a virginal, a man plays a lute, and a boy and perhaps another man sing. (de Jongh-Luijten Mirror. p. 79 [ok reproduction, not exhibited], with an earlier, similar, engraved composition by Pieter de Jode [1572/73-1634] after Adam van Noort [1562-1641], no. 8, p. 76, and another by Gillis van Breen after Adam van Noort, p. 77; Ott Abb. 54; MgB IV/3, p. 60. Notes that this is the same composition [reversed] as an engraving from Johann Theodor de Bry's Emblemata secularia (1611), but with up-dated costume and coiffure. De Jongh-Luijten Mirror reproduces this, p. 77 [minuscule reproduction], and dates the de Bry engraving 1596; Musica calendar 1978: 26 November-9 December [fine reproduction])
[Decker-Steudner Pr] Johann Christoph Steudner (fl. 1730) after Paul Decker (d.Ä.) (1677-1713). Rühmlichster Nachklang die schönste Music/Dulcissimum melos bona fama." engraving. A music party. A man and a woman sing, a woman plays a keyboard instrument, and men play violin, cello and three woodwinds. (MgB IV/3, p. 83 [ok reproduction]; Early Music 4 [1970] 18 [fair reproduction])
Interiors (not Church, Inn): [Pa ex Berlin Schlossmuseum] German?, late 17th-early 18th century. Dance. ex Berlin, Schlossmuseum. A couple dances (no visible accompaniment). There is an unplayed virginal. (W. Flemming. Deutsche Kultur im Zeitalter des Barock. Potsdam 1937. p. 201 [poor reproduction])
Operatic/Theatrical Scenes: [CI Dresden 1719] Fehling, Heinrich Christoph (1654-1725). Performance of Lotti's Opera Teofane in the Zwinger Opera House, Dresden, 13 September 1719, part of the celebrations following the marriage in Vienna of Prince Friedrich August of Saxony and the Archduchess Maria Josepha of Austria, 3 September 1719, from Relation de l'inauguration solenelle ... Ghent 1719. engraving. Includes a substantial orchestra, with a harpsichordist. (Bowles Musical Ensembles. fig. 201, 201a [detail of the orchestra]; Early Music 8 [1980] 49 [detail of the orchestra, Bowles' detail is better]; The New Grove vol. 5, p. 620 [useless for details])
Angels: [BI Nuremberg 1699] Title-page of Johann Pachelbel, Hexachordum Apollinis ... Nuremberg, W. M. Endter, 1600. engraving. The borden includes angels playing organ and virginal. (Fraenkel no. 136 [ok reproduction])
[Ne Cleveland M of A] Bavarian, last quarter, 17th century. Angels. Cleveland, Museum of Art. embroidered chausible. Two of the angels play two-manual harpsichords. (A. E. Wardwell. "Love's a Good Musician," Cleveland Museum of Art, Bulletin, 60 [1973] 283-291. Wardwell speculates that the chausible was probably a wedding vestment for a specific event, and that the objects depicted on it signify the cosmic union of Sacred and Profane Love.)
Musicians (amateur and professional): [C Weigel Pr] Weigel, Christoph, d. Ä (1654-1725). "Der Musicant," from Abbild und Beschreibung der gemeinnützlichen Haupt-Stände ... Regensburg 1698. engraving. Musicians play lute and sing. There are several unplayed musical instruments, including a virginal. Virtually the same print appears in Jan Luyken, Spiegel van het Menselijk Bedrijf (1694) (see Dutch entry, above). (Early Music 10 [1982] 371)
[C Weigel Pr] _______. "Der Orgelmacher," as above. His shop includes a chavichord, organ and organ pipes. Virtually the same print appears in Jan Luyken, Spiegel van het Menselijk Bedrijf (1694) (see Dutch entry, above). (Early Music 10 [1982] 391)
[J C Weigel Pr] Weigel, Johann Christoph (1661-1726). "Glavicembal," from Musicalisches theatrum. Nuremberg [ca.1720]. engraving. A court musician plays a harpsichord. (facsimile: Kassel 1961; Early Music 13 [1985] 185)
Putti: [BI Dresden 1689] Moritz Bodenehr (1665-1749) after Samuel Bottschild (1641-1706). Title page of Johann [i.e.Jacob] Kremberg, Musicalische Gemüths-Ergötzung. Dresden, Christoph Malthesius, 1689. engraving. Includes a putto playing a two-manual harpsichord. (R. M. Haas. Die Musik des Barocks. Potsdam 1928, R/1949. p. 263; Kinsky p. 171)
[BI Breslau 1723] Anon. Cembal d'amour, from Sammlung von Natur- und Medicin-, wie auch hierzu gehörigen Kunst- und Literatur-Geschichten. Breslau and Leipzig, 1723 (June issue). engraving. The cembal d'amour was a sort of clavichord. (The New Grove vol. 4, p. 55 [ok reproduction])
St. Cecilia: See also Allegory, Music/Poetry/Liberal Arts.
[Pavia-Fabri Pr] Giovanni Fabbri (doc.1736-m.1777) after Giacomo Pavia (1699-ca.1750). Illustration from L'Disgrazi d'Bertuldin dalla Zena. Bologna, Cassa di Risparmio. drawing. One or two men sing and a man plays a harpsichord. There is considerable smashed crockery and a female servant drops a plate. (Le Collezioni d'arte della Cassa di Risparmio in Bologna. I Disegni I. Bologna 1973. p. 483.
Music/Poetry/Liberal Arts: [Bellucci Pa] Bellucci, Antonio (1654-1726). Allegory of Music. Ansbach, Bayerisches Verwaltungsgericht, ceiling. A woman (St. Cecilia) plays a clavichord (?) (the lid is about to fall on her fingers) as a wingless putto crowns her with roses. Men play chitarrone and recorder. Time (?) looks at a music sheet and makes a large conducting gesture. (Pantheon 32 [1974] 375 [ok reproduction]. Notes that it may once have been at Schleissheim. Perhaps originally for the Electoral Palace in Düsseldorf. As no later than 1709.)
[Bellucci Pa] _______. Allegory of Music. Vienna, Palais Liechtenstein. A woman sings. Men play clavichord (?), violin, tenor cello (?) and recorder. (Arte veneta 18 [1964] 102)
[Trevisani-van der Gouwen Pr] G. van der Gouwen (18th century) after Francesco Trevisani (1656-1746). Allegory of Music?. engraving. A woman plays a lute. Beside her there is a harpsichord with a violin and a woodwind instrument on it and a cello leaning beside it. (van Dijck-Koopman no. 238. Notes that the original [?] drawing is in the Gemeentemuseum, 's-Gravenhage)
Other: [G M Grespi Pa] Crespi, Giuseppe Maria (1664-1747). Allegorical Genre Scene. Florence Uffizi. Includes a woman with a hand on a keyboard, turning to a man who offers her pearls, and a man with a roll of music on his lap. All of the figures are caricatures. (M. Marangoni. Arte barocca. Florence 1973. fig. 110 [poor reproduction]; exh Bologna, etc. 1990: Giuseppe Maria Crespi ... no. 110, p. 219 [ok color reproduction])
[Pa Milan Sforzesco] Italian (Neapolitan), 18th century. Musical Group Portrait. Milan, Museo Castello Sforzesco. They are gathered around a table with an unplayed harpsichord on it. Women hold music (sing), and play a guitar, and tune a mandore. Men play a plucked stringed instrument (guitar head, body like an English Guitar) and hold a violin and a woodwind (recorder?). There is another violin lying on the harpsichord. (Dufourcq Musique. vol. I, pp. 354-55 [reproduction across the page crease]; W. Haacke. Am Klavier. Königstein im Taunus 1968. p. 39, as ca.1725)
[Arconati Pa] Arconati, Giuseppe M. (17th-18th century). Portrait of Rosa, later Sister Gioseffa Marianna. private collection. She has her hand on a small keyboard instrument. unimp. (Fondazione Treccani degli Alfieri per la Storia di Milano. Storia di Milano, XI: Il declino spagnolo (1630-1706). Milan 1958. p. 556 [poor reproduction])
[Gabbiani Pa] Gabbiani, Antonio Domenico (1652-1726). Portrait of a Group of Musicians. Florence, Palazzo Pitti. Their instruments are harpsichord, two violins, viola, tenor (?) viola, cello and mandolin. (Musica calendar, 1974: 13-26 January [fine reproduction], as musicians of the Modena court; Early Music 9 [1981] 438 [useless reproduction], considers the plucked stringed instrument a mandola; Early Music 18 [1990] 545, as "portrait of the string band of Grand Prince Ferdinando de'Medici." As ca. 1685. With proposed identification of the musicians [the keyboard player as Federigo Meccoli (m.1710)].)
[Gabbiani Pa] _______. Portrait of a Group of Musicians, with a Negro Servant Holding a Parrot. Florence, Palazzo Pitti. They sing and play harpsichord and violin. (exh Detroit, Florence, 1974: The Twilight of the Medici ... cat. no. 144, pl. XIII [fine color reproduction]; Early Music 11 [1983] 365 [poor reproduction]; Early Music 18 [1990] November front cover [fine color detail of violin and harpsichord], p. 547 [small color reproduction], as "portrait or three favourite musicians and slave of Grand Prince Ferdinando de' Medici." Identifies the violinist as Martino Bitti [1655/56-1743] and the singer as Francesco de Castro [d.1734]; Musica calendar 1978: 8-21 January [fine color reproduction])
[Gabbiani Pa] _______. Portrait of Three Court Musicians. Florence, Palazzo Pitti, Galleria Palatina. One is seated at a pentagonal spinet and two hold a music sheets. (Early Music 18 [1990] 551 [color reproduction])
[Gabbiani Pa] _______. Musicians. Florence, Palazzo Pitti, Galleria Palatina. A woman plays a keyboard musicians, men play viola and harp, and hold a cello and perhaps a flute. (Early Music 18 [1990] 551 [color reproduction])
[Nazari Pa] Nazari, Bartolommeo (1699-1758). Portrait of Farinelli (Carlo Broschi) (1705-1782) (1734). London RCM. He has his hand on a (partly visible) harpsichord. (The New Grove vol. 6, p. 397)
[Nazari Pa] _______. Portrait of Three Englishmen. private collection. Includes a rectangular keyboard instrument with a cello leaning against it. (C. Donzelli. I pittori veneti del settecento. Florence 1957. fig. 231; Burlington 91 [1949] 77. Notes that the sitters are probably Englishmen visiting Venice and that the keyboard instrument is probably an early German clavichord.)
[Pellegrini Pa] Pellegrini, Antonio (1675-1741). The Daughters of the Earl of Carlisle. private collection (Howard Castle). Three young women on a terrace. There is perhaps a harpsichord (?). (The third Earl was Charles [1674-1738].) (R. Pallucchini. La pittura veneziana del setecento. Venice 1960. fig. 27, as ca. 1710. "Studio.")
[Ghezzi Dr] Ghezzi, Pier Leone (1674-1755). Three Figures. St. Petersburg Hermitage. drawing. Two listen to a man playing the harpsichord. (1961catalog of 17th and 18th century Italian drawings, pl. XXXV)
[Zanetti Dr] Zanetti, Anton Maria (1680-1767). Il vezzozzo gobbetto, from an album of caricatures. Venice, Fondazione Giorgio Cini. drawing. He plays a harpsichord. (Arte illustrata 3 [Jan.-Feb. 1970] 113-114)
[Bonaventura Bettera Pa] Bettera, Bonaventura (a.1663-p.1717[?]). Musical Still Life in an Architectural Setting. private collection. Nine musical instruments, including a spinet. (M. Rosci. Baschenis, Bettera & Co. Milan 1971. no. 155 [color reproduction])
[Bonaventura Bettera Pa] _______. Musical Still Life. private collection. Eleven musical instruments, including a spinet. (M. Rosci. Baschenis, Bettera & Co. Milan 1971. no. 153)
[Bonaventura Bettera Pa] _______. Musical Still Life (1718). private collection. Ten musical instruments, including a spinet. (L. Angelini. I Baschenis. Bergamo 2/n.d. pl. LXII [fair reproduction])
[Bonaventura Bettera Pa] _______ [attr.]. Musical Still Life. private collection. Eight (?) musical instruments, including perhaps a spinet. An awful painting -- perhaps a copy of a copy? (M. Rosci. Baschenis, Bettera & Co. Milan 1971. no. 154 [odd, fuzzy reproduction])
Concerts: [Visentini Pa] Visentini, Antonio (1688-1782). Concert on the Terrace of an Elegant Villa. Venice, Palazzo Contarini Bisacco (?). A woman may sing, and men play harpsichord, several violins, double bass and perhaps other instruments. (R. Pallucchini. La pittura veneziana del settecento. Venice 1960. fig. 540 [small reproduction])
Banquets: [CI Padua ] Anon.? Banquet in honor of Ernst August, 6th Duke of Brunswick, in the Villa Contarini, Piazzola sul Brenta (Padua), 1685. engraving. Includes female musicians in three galleries. In the rear gallery there seems to be a keyboard player along with four violinists (or violists), a double-bass player and five singers. (G. Mazzotto. Ville venete. Rome 1963. opp. p. 338)
Concerts (with Orchestra): [Pa no location] Italian (Venetian) [early 18th century?]. Concert in one of the Ospedali, probably la Pietà, Venice. no location. An orchestra and chorus of women. The only male performer is the harpsichordist. They are all quite vaguely depicted. (Early Music 1 [1973] 68, 71 [detail], 73 [useful detail of the harpsichord player, two double bassists and four singers], no location)
Domestic Scenes: [G M Grespi Pa] Crespi, Giuseppe Maria (1664-1747). The Flea. Pisa, Museo Nazionale e Civico di San Mateo. A woman sits up in bed, picking a flea out of her bosom. There seems to be the corner of a keyboard instrument at the left. (E. Carli. Il Museo di Pisa. Pisa [1974]. fig. 149; exh Bologna, etc. 1990: Giuseppe Maria Crespi ... no. 79, p. 159 [ok color reproduction])
House Concerts/Chamber Music/Rehearsals: See also Miscellaneous Figures, Musicians.
[Pa Leipzig Musikinstrumenten-Museum] Italian, late-17th century. Chamber Concert. Leipzig, University, Musikinstrumenten-Museum. painting on a harpsichord lid. Men sing and play harpsichord and violin. (MgB IV/3, p. 54 [small reproduction])
[M Ricci Pa] Ricci, Marco (1676-1729/30), attr. The Rehearsal of an Opera (?). New Haven, Yale Center for British Art, Paul Mellon Collection. There are perhaps two women singing. Men play harpsichord, double bass, cello and chitarrone (all reading from the music on the harpsichord). There are also two or three violinists. (Early Music 14 [1986] 327, as ca.1709?; Early Music 18 [1990] 38 [ok reproduction]. Suggests, p. 42-43, that the harpsichord is English; that the painting was made in England, specially adapted for the English market; and that the instrument was perhaps built or supplied by Stephen Heming; Imago musicae 4 [1987] 344 [ok reproduction])
[M Ricci Pa] Ricci, Marco (1676-1729/30). The Rehearsal of an Opera (?). private collection. Men sing and play harpsichord, cello and double bass (both reading from the music on the harpsichord). Caricatural. (G. du Logu and G. Marinelli. Il ritratto nella pittura italiana. Bergamo 1975. vol. I, p. 136 [ok color reproduction]; Arte veneta 17 [1963] 237; Burlington 129 [1987] 627 [small reproduction], as ca.1710; Burlington 129 [1987] June ad p. lii [fine color reproduction]; Early Music 14 [1986] 323 [ok reproduction], as ca.1709; Early Music 18 [1990] 38 [ok reproduction]. Suggests that the harpsichord is a large Italian instrument with an outer case, and suggests that the painting was done in Italy before Ricci's first trip to London in late 1708; Early Music 24 [1996] 72 [ok reproduction], as ca.1709) There is also another, very similar, version (private collection). Here the dog in the right foreground is larger and is closer to the edge of the painting (the dog's tail touches the bottom edge). (Early Music 14 [1986] 325 [small reproduction])
[M Ricci Pa] _______. The rehearsal of an Opera (?). private collection (Castle Howard). A woman sings and men conduct and play harpsichord, two violins, viola, cello and perhaps two more. There is also an unplayed cello and a violin case. There is an open window in the background. (R. Pallucchini. La pitura veneziana del settecento. Venice 1960. fig. 94; F. Vivian. Il console Smith ... Vicenza 1971. pl. 1 [ok reproduction]; Apollo 107 [1978] 299 [poor reproduction]; Early Music 14 [1986] 328 [small reproduction]; Early Music 28 [1996[ 73 [ok reproduction]) There is a variant of this, with a large rectangular and two small oval paintings on the back wall (New Haven, Yale Center for British Art, Paul Mellon Collection). (sale, Sotheby's, 30.VI.1965; Burlington 107 [1965] June ad p. ix [ok reproduction]; sale, Sotheby's, 24.VI.1970; Burlington 112 [1970] June ad p. xlii; Early Music 14 [1986] 329 [small reproduction]) There is another variant (the gown of the woman to the right of the harpsichord reaches almost to the bottom of the painting) (private collection -- Coll. Major Christopher Turnor). (Early Music 14 (1986) 330 [small reproducton]) And there is yet another (in poor condition, with a tear to the right of the rectangular painting) (private collection). (Early Music 14 [1986] 330).
[M Ricci Dr] _______. Female Figures Viewed from Behind. private collection. drawing. One sings and another plays a rectangular or trapezoidal keyboard instrument. (Corpus graphicum bergomense. Bergamo 2/1969-70. pl. 675)
Interiors: [BI Rome 1722] Anon. "Prospetto della Camera detta Galleria armonica nel Palazzo della Sigrnori Verospi in Roma in cui sono molti Strumenti sonori, fabricati con prodigioso artifizio da Michele Todino," from Filippo Bonanni (Buonanni), Gabinetto Armonico, Rome 1722. Includes an organ and three stringed keyboard instruments, all in one huge case with four keyboards. (Winternitz Musical Instruments. pl. 45b; F. Bonanni. The Showcase of Musical Instruments. Ed. F. Ll. Harrison and J. Rimmer. New York 1964. pl. 33 [ok reproduction, but across page crease])
Operatic/Theatrical Scenes: [CI Rome 1729] Gabbuggiani , Baldassare (1689-p.1752). Stage design by Niccolò Michetti (1672/81-1759) for a performance of Giovanni Battista Costanzi's festa teatrale Carlo Magno (libretto by Pietro Ottoboni), in honor of the birth of the heir to the French throne. The performance took place in the Cancelleria, Rome, in 1729. engraving. The little orchestra includes two keyboard (presumably harpsichord) players, one at each end. (MGG X, cols. 487-88 [fair reproduction])
[CI Turin 1722] Aveline, Antoine (1691-1743). "Vuë du theatre dressé a la cour pour Le divertissement de l'Opera donné a S. A. R. Madame La Princesse de Piedmont." engraving. The orchestra includes two harpsichord players. (Bowles Musical Ensembles. figs. 206, 206a [detail], as a performance of [Andrea Stefano] Fiorè's Re di Vandali [in the theater of the Palazzo Reale], during the wedding festivities for Prince Carlo Emanuele of Piedmont and Princess Anna Christina of Bavaria, May, 1722; A. Peyrot. Torino nei secoli. Turin 1965. vol. 1, p. 185; exh Turin, Rotary Club of Turin, 1969: Immagini di Torino nei secoli. Ed. A. Peyrot and V. Viale. no. 167; Early Music 20 [1992] 427 [fair reproduction])
[CI Venice ca.1680] Anon. "Teatro Grimani a S. Giovanni Grisostimo [Venice]." engraving. The orchestra presumably includes a harpsichord player. (W. Braun. Die Musik des 17. Jahrhunderts. Wiesbaden 1981. [NHMw, 4] p. 85)
[Olivero Pa] Olivero, Pietro Domenico (1680-1755). The Teatro Regio, Turin. Turin, Museo Civico d'Arte Antica. Probably depicts a performance of Francesco Feo's Arsace (1740). The orchestra includes two players of harpsichords. (M. Bernardi. Tesori d'arte antica in Piemonte. Milan [1969?]. p. 714 [splendid color reproduction]; R. Levi Pistezky. Storia del costume in Italia. vol. IV. Milan 1967. p. 322; L. Mallé. Museo Civico di Torino; I dipinti del Museo d'Arte Antica. Turin 1963. pl. XIX [color reproduction]; exh Turin, 1963: Mostra del barocco piemontese. vol. I, pl. 25, pl. 41 [ok reproduction]; MGG, vol. 13, Taf. 57 [too small reproduction]; Sartori, C., ed. Ricordi Enciclopedia della Musica. Milan 1963-64. vol. II, tav. 27; The New Grove vol. 19, p. 262 [fair reproduction])
Parties/Music Parties: See also Literary and Historical Subjects/Figures.
Musicians (amateur and professional): [G M Crespi Pa] Crespi, Giuseppe Maria (1664-1747). The Courtesan. Naples MN. She is at a keyboard instrument (only a bit visible). (Vis. Coll. 372.C864.90[m])
[Ghezzi Dr] Ghezzi, Pier Leone (1674-1755). A Group of Musicians. Moscow, Pushkin Museum. drawing. They play harpsichord, violin, cello (barely suggested), double bass and chitarrone. All except the violinist look on the harpsichordist's music. (La grande avventura del disegno italiano. n. p. 1991, no. 178 [fine reproduction])
[Lazzarini Pa] Lazzarini, Gregorio (1655-1730). Six Musicians. location unknown. They have a harpsichord, two viole da braccio, two double basses (one played across the lap, bowed from below with a large, "dagger" bow) and a chitarrone. Szpáry sale, Ernst-Museum, Budapest, 29.IV.1929 [fair reproduction]; MGG II, Taf. 32/3 [small reproduction])
[Muratori Pa] Muratori, Bartolomeo (1699-1763). A Group of Young Musicians on a Terrace. private collection. A young woman plays a harpsichord and youths play viola, double bass and lute. Formerly attributed to Donato Creti. (R. Roli. Donato Creti. Milan 1967. pl. 127, as attr. Muratori; exh Brunswick ME, Bowdoin College, 1967: cat. no. 4 [ok reproduction])