From the Seven Virtues series, this work illustrates the artist’s interpretation of temperance through a wealth of highly animated characters.  Examining the studied figure and symbolic imagery, this work is full of intricately detailed groups enacting the virtues of moderation in behavior.

Engraved in c. 1560, this piece is printed on a fine laid paper with a strong black impression.  This work is engraved in reverse of a drawing dated 1560 in the Boymans Museum, Rotterdam.  A lifetime impression from the only state of two by Philips Galle based on an original work by Pieter Bruegel featuring the inscribed text plate along the lower margin on watermarked paper dating the piece to c. 1556-1568 (Dolphin, Br. 5843-5851) .  The signature of Bruegel is inscribed in the lower right: ‘Bruegel’ with ‘Cock. Exc’ in the lower left.

Rich in detail and tonality, this work contains a buzzing of activity surrounding the central figure of Temperance.  Identified as the title character through the label ‘Temperantia’ on the bottom of her robe, the central figure stands calmly with a clock on her head as the surrounding groups are busy with their work.  Theatrically positioned as if set on a stage, the characters in the work evoke a sense of depth and volume through strong variations in value and strategically placed details receding into space.

Said of this work, “The picture as a whole shows that Temperance is not conceived primarily as an avoidance of Gluttony.  Rather, this Temperance might be regarded as the opposite or antidote to Sloth.  For around her a marshaled examples of man’s useful, cultural, and—presumably—commendable activities.” (Klein 243)   The lower text of the image translates as saying, We must look to it that we neither, given over to sensual pleasures, appear wasteful and luxuriant, nor, held by miserliness, live in filth and ignorance.

Catalogue Raisonné & COA:
It is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the final sale of the work) :

1. Bastelaer, René van. The Prints of Peter Bruegel the Elder, Catalogue Raisonné New Edition, Alan Wofsy Fine Arts: San Francisco, 1992.  Listed and illustrated as catalogue raisonné no. 138 on pgs. 186-7.

2. Briquet, C.M. Les Filigranes, Dictionnaire Historique des Marques du Papier, Tome II Cl-K. Verlag: Leipzig, 1923. Watermark listed and illustrated as catalogue raisonné no. 5843-5851.

<p>   3. Klein, H. Arthur. Graphic Worlds of Peter Bruegel the Elder, Dover Publications: New York, 1963.  Listed and illustrated as catalogue raisonné no. 54 on pgs. 132-3.

4. Orenstein, Nadine M., ed. for the Metropolitan Museum of Art, New York. Pieter Bruegel the Elder: Drawings and Prints, Yale University Press: New Haven, 2001.  Listed and illustrated as catalogue raisonné nos. 76-7 on pgs. 19-1.

5. Sellink, M. Pieter Bruegel: The Complete Paintings, Drawings and Prints. Ludion: NY, 2007. Listed and illustrated as catalogue raisonné no. 93 on pg. 151. Detail on preparatory drawing for Charity is listed and illustrated as catalogue raisonné no. 86 on pg. 144.

About the Framing:
Set in a Spanish style bronze and gold frame, the ribbon detailing of the moulding compliments the meandering curved shapes within the image.  Decorative detail echo acanthus leaves which evoke a classical aura to the work.  Completed with white, linen-wrapped mats with a matching gold inner fillet, Temperance is set behind an archival Plexiglas® cover.