Brueghel the Elder, Pieter, The Seven Virtues (Suite of Seven), c.1559 - 1561

Pieter Brueghel the Elder, Engraving, The Seven Virtues (Suite of Seven), c.1559 - 1561

Brueghel the Elder Engraving Signed, The Seven Virtues (Suite of Seven), c.1559 - 1561

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Artist:	Brueghel the Elder, Pieter (1525 - 1569)
Title:	The Seven Virtues (Suite of Seven), c.1559 - 1561
Reference:	Bastelaer 132-138
Medium:	Original Engravings
Image Size:	11 ½" x 8 ¾" (29.21cm x 22.23cm)
Sheet Size:	12 ½" x 9 ¾" (31.75cm x 24.77cm)
Framed Size:	28 ¼" x 25 ½" (71.76cm x 64.77cm)
Signed:	The signature of Bruegel is inscribed in cartouche in the lower right in all seven works: 'Bruegel Inu.'
Edition:	From the only state by Philips Galle after Pieter Bruegel's series of seven preparatory drawings featuring the inscribed text plate along the lower margin. Printed on fine, watermarked paper for each work.
Condition:	These works are in good condition - fine, dark impressions.
Price: Item# 2520	$SOLD Please visit the rest of our Brueghel the Elder fine art collection

Historical Description:
This iconic suite of seven engravings by Pieter Bruegel is perhaps one of his most famous works to date. It is an astounding series with each print revealing more and more of Bruegel's limitless sensibility of religious and moral scenes. Each work is a masterpiece in itself, making this rare and complete series of seven a fantastic suite to have in any collection. According to Manfred Sellink (2007), "Like the Sins, the Virtues are not an arbitrary selection of attributes, but consist of the three Theological Virtues (Faith, Hope and Charity) and four Cardinal Virtues (Justice, Prudence, Fortitude and Temperance), canonized in medieval times…Bruegel's representations of the Virtues are starkly realistic. This is not to say that they reflect the world Bruegel lived in, but that the architecture, costumes, mise-en-scène and 'stage props' would have been familiar to his contemporaries" (134). Created between 1559 and 1561, Pieter Bruegel sought to make this suite of Seven Virtues as a sequel to his previous Seven Deadly Sins. They were originally a series of seven preparatory drawings, only to be engraved by Philips Galle and later published by Hieronymus Cock. Most of these works have been printed on fine, watermarked paper (see details below). Faith (latin FIDES): The church-going scene in Faith is a slightly satirical take on those worshippers who, during Bruegel's time, sought to make direct connections with God without interference from the church. It is a crowded, energetic scene with a series of vignettes scattered throughout the composition. Featuring water jug with cross watermark (Br. 12638). Hope (latin SPES): "The female personification stands in the centre, surrounded by attributes associated with hope since the late Middle Ages: an anchor (the sailor's promise of land), a spade and sickle (the farmer's hope for a good harvest) and a beehive worn as headgear (the hope for an abundant yield of honey)" (Sellink, 2007, pg. 134). Charity (latin CHARITAS): Continuing with Bruegel's theme of female personifications of each of these virtues, Charity is seen at the center of a town square surrounding by those redeemed in the act of giving and sharing; in other words, examples of charity. Printed on a rare, watermarked paper featuring a Dolphin watermark (Br. 5841). Justice (latin JUSTICIA): "Justice on a pedestal carries a sword and is blindfolded. She is presiding over the varied punishments ordered by a court that seems pitiless rather than merciful. All the legal practices of the sixteenth century are re-enacted before our eyes: torture, mutilation, whipping, strappado, beheading, hanging, the rack, and burning at the stake" (Lavalleye 201). Featuring the Gothic P with Flower watermark (Br. 8715). Prudence (latin PRUDENTIA): "Each of these objects suggests a different aspect of prudence: the sieve or colander - the sifting out of good from evil, rejecting the bad, retaining that which makes for a life of virtue; the coffin - the inevitable death that awaits all men, in awareness of which they should live each day prudently; the mirror - self-knowledge" (Klein 128). Featuring the Gothic P with Flower watermark (Br. 8743). Fortitude (latin FORTITUDO): Fortitude is represented here as a courageous angel, standing upon the neck of evil as she tethers the chain around his neck. Nothing seems to distract her, amidst the brewing and tumultuous scene of men in the background, conquering their evil vices. It is splendidly engraved, with fruitful detail and endless action. Featuring the Gothic P with Flower watermark (Br. 8641). Temperance (latin TEMPERENTIA): 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. Partial, unidentifiable watermark with pen and ink notation on the reverse. 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 nos. 132-138 on pgs. 174-187. 2. Klein, H. Arthur. Graphic Worlds of Peter Bruegel the Elder, Dover Publications: New York, 1963. Listed and illustrated as catalogue raisonné nos. 47-54 on pgs. 116-133. 3. 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. 64-5 on pgs. 177-9. 4. Sellink, Manfred. Bruegel: The Complete Paintings, Drawings and Prints, Ludion: New York, 2007. Listed and illustrated as catalogue raisonné nos. 80-93 on pgs. 134-151.

Historical Description:

This iconic suite of seven engravings by Pieter Bruegel is perhaps one of his most famous works to date. It is an astounding series with each print revealing more and more of Bruegel's limitless sensibility of religious and moral scenes. Each work is a masterpiece in itself, making this rare and complete series of seven a fantastic suite to have in any collection.

According to Manfred Sellink (2007), "Like the Sins, the Virtues are not an arbitrary selection of attributes, but consist of the three Theological Virtues (Faith, Hope and Charity) and four Cardinal Virtues (Justice, Prudence, Fortitude and Temperance), canonized in medieval times…Bruegel's representations of the Virtues are starkly realistic. This is not to say that they reflect the world Bruegel lived in, but that the architecture, costumes, mise-en-scène and 'stage props' would have been familiar to his contemporaries" (134).

Created between 1559 and 1561, Pieter Bruegel sought to make this suite of Seven Virtues as a sequel to his previous Seven Deadly Sins. They were originally a series of seven preparatory drawings, only to be engraved by Philips Galle and later published by Hieronymus Cock. Most of these works have been printed on fine, watermarked paper (see details below).

Faith (latin FIDES): The church-going scene in Faith is a slightly satirical take on those worshippers who, during Bruegel's time, sought to make direct connections with God without interference from the church. It is a crowded, energetic scene with a series of vignettes scattered throughout the composition. Featuring water jug with cross watermark (Br. 12638).

Hope (latin SPES): "The female personification stands in the centre, surrounded by attributes associated with hope since the late Middle Ages: an anchor (the sailor's promise of land), a spade and sickle (the farmer's hope for a good harvest) and a beehive worn as headgear (the hope for an abundant yield of honey)" (Sellink, 2007, pg. 134).

Charity (latin CHARITAS): Continuing with Bruegel's theme of female personifications of each of these virtues, Charity is seen at the center of a town square surrounding by those redeemed in the act of giving and sharing; in other words, examples of charity. Printed on a rare, watermarked paper featuring a Dolphin watermark (Br. 5841).

Justice (latin JUSTICIA): "Justice on a pedestal carries a sword and is blindfolded. She is presiding over the varied punishments ordered by a court that seems pitiless rather than merciful. All the legal practices of the sixteenth century are re-enacted before our eyes: torture, mutilation, whipping, strappado, beheading, hanging, the rack, and burning at the stake" (Lavalleye 201). Featuring the Gothic P with Flower watermark (Br. 8715).

Prudence (latin PRUDENTIA): "Each of these objects suggests a different aspect of prudence: the sieve or colander - the sifting out of good from evil, rejecting the bad, retaining that which makes for a life of virtue; the coffin - the inevitable death that awaits all men, in awareness of which they should live each day prudently; the mirror - self-knowledge" (Klein 128). Featuring the Gothic P with Flower watermark (Br. 8743).

Fortitude (latin FORTITUDO): Fortitude is represented here as a courageous angel, standing upon the neck of evil as she tethers the chain around his neck. Nothing seems to distract her, amidst the brewing and tumultuous scene of men in the background, conquering their evil vices. It is splendidly engraved, with fruitful detail and endless action. Featuring the Gothic P with Flower watermark (Br. 8641).

Temperance (latin TEMPERENTIA):
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. Partial, unidentifiable watermark with pen and ink notation on the reverse.

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 nos. 132-138 on pgs. 174-187.
2. Klein, H. Arthur. Graphic Worlds of Peter Bruegel the Elder, Dover Publications: New York, 1963. Listed and illustrated as catalogue raisonné nos. 47-54 on pgs. 116-133.
3. 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. 64-5 on pgs. 177-9.
4. Sellink, Manfred. Bruegel: The Complete Paintings, Drawings and Prints, Ludion: New York, 2007. Listed and illustrated as catalogue raisonné nos. 80-93 on pgs. 134-151.

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Biography of Pieter Brueghel the Elder

Pieter Brueghel the Elder (1525 - 1569)

Pieter Brueghel (1525-69), usually known as Pieter Brueghel the Elder to distinguish him from his elder son, was the first in a family of Flemish painters. You'll often find his name spelled as Bruegel (Pieter spelled it like that from 1559 onwards) or Breugel or Breughel.

He was born in Breda in the Duchy of Brabant, which is now part of The Netherlands but back then part of the Flanders.

Note: Flanders or Vlaanderen and the Netherlands (aka known as Holland) or Nederland share the same language. It's called Flemish, or "Vlaams" in Belgium and Dutch, or "Nederlands" in The Netherlands. And the name Holland, although it's often taken to mean the whole of the Netherlands, is really part of that country only, the area of the provinces called Zuid Holland and Noord Holland (South and North Holland).

Brueghel was accepted as a master in the Antwerp painters' guild in 1551, after being an apprentice of Coecke van Aelst, a leading Antwerp artist, sculptor, architect, and designer of tapestry and stained glass. Brueghel traveled to Italy in 1551 or 1552, completing a number of paintings, mostly landscapes, there. Returning home in 1553, he settled in Antwerp but ten years later moved permanently to Brussels. He married van Aelst's daughter, Mayken, in 1563. His paintings, including his landscapes and scenes of peasant life, stress the absurd and vulgar, yet are full of zest and fine detail. They also expose human weaknesses and follies. He was sometimes called the Peasant Brueghel. But it was in nature that he found his greatest inspiration. His mountain landscapes have few parallels in European art. Popular in his own day, Bruegel prints have remained consistently popular. Pieter Brueghel the Elder died in Brussels on Sept. 9, 1569.