Plate 16: Wild Boar
c.1575/1590s
Artist, Flemish, 1542 - 1600
Artwork overview
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Medium
watercolor and gold paint on parchment
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Credit Line
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Dimensions
page size (approximate): 14.3 x 18.4 cm (5 5/8 x 7 1/4 in.)
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Accession
1987.20.6.17
Associated Artworks
See all 70 artworks
Plate 56: Two Heads of Cabbage
Joris Hoefnagel
1570
Plate 43: Mongoose and Badger with Fruit Trees
Joris Hoefnagel
1570
Plate 5: An Ox and a Camel
Joris Hoefnagel
1570
Artwork history & notes
Provenance
Emperor Rudolf II of Austria?[1]; Secretarius Heinrich Hagen, Vienna, 1611.[2] Count Emanuel Maria Joseph von Arco, Munich, 1751.[3] Graf von Seinsheim, canon of Salzburg and Speyer, 1753. Master stonemason Rüpfel, Munich, c. 1830. Joseph Anton Niggl [1792 - 1842], Markt Tölz. Karl August von Brentano [1817 - 1896], Augsburg. (sale, Rudolph Weigel, 28 October 1861, no. 2220-a-d]; (Frederick Startridge Ellis [active 1860 - 1885], London; formerly identified as F. S. Eliot)[3]; Henry Huth [1815 - 1878], London; by descent to his son, Alfred Henry Huth [1850 - 1910], London; (sale, Sotheby's' London, 12 June 1913, no. 3722); (William Wesley & Son, London); Charles Francis George Richard Schwerdt, Old Alresford House, Hampshire (his sale, Sotheby's' London, 15 July 1946, no. 2216); (The Rosenbach Company, Philadelphia); Lessing J. Rosenwald, Jenkintown; given to Edith Goodkind Rosenwald, Jenkintown; gift to NGA, 1987.
[1] Although Van Mander claims the series was commissioned and purchased by Rudolf, this is impossible as dates scattered throughout volumes pre-date Hoefnagel's' contact with Rudolf. The series does not appear in Rudolf's' inventory, though he is likely to have owned it at one time as many copies from the volumes appear in his natural history collections, now in Vienna (see Bass 2020, 12).
[2] Vignau-Wilberg 2017, 98 without documentation.
[3]Wolfgang Wegner, Kurfurst Carl Theodor von der Pfalz als Kunstsammler, Mannheim, 1960: 13.
[4] Ellis was a book dealer who frequently sold to Huth and wrote the catalogue of Huth's' collection. He started his own business just a year before The Four Elements appeared at Weigel. Ellis is correctly identified by M. Bartels, "Ueber abnorme Behaarung beim Menschen," Zeitschrift fu¨r Ethnologie 11 (1879): 155, note 1.
Associated Names
Exhibition History
1982
Drawings from the Holy Roman Empire, = 1540 - 1680, The Art Museum, Princeton University, National Gallery of Art, Museum of Art, Carnegie Insitute, Pittsburgh (exh. cat. by Thomas DaCosta Kaufmann, no. 56.
Drawings from the Holy Roman Empire, 1540 - 1680, The Art Museum, Princeton University, National Gallery of Art, Museum of Art, Carnegie Insitute, Pittsburgh (exh. cat. by Thomas DaCosta Kaufmann, no. 56.
2009
Heaven on Earth: Manuscript Illuminations from the National Gallery of Art, NGA, 2009.
Bibliography
1984
Hendrix, Lee. Joris Hoefnagel and the Four Elements: a Study in Sixteenth-Century Nature Painting. Ph.D. Hendrix, Lee. Joris Hoefnagel and the Four Elements: a Study in Sixteenth-Century Nature Painting. Ph.D. dissertation, Princeton University, 1984 (series).dissertation, Princeton University, 1984 (series).
2017
Vignau-Wilberg, Thea. Joris and Jacob Hoefnagel: Art and Science around 1600. Berlin, 2017: no. A6 (for series).
2019
Bass, Marisa Ann. Insect Artifice: Nature and Art in the Dutch Revolt. Princeton, 2019 (for series).
Inscriptions
upper center in violet ink: FONTIBVS APROS, FLORIBVS AVSTRVM; center right in black ink: XVI.; animal in image numbered 1, in red ink.
Facing page: upper center in brown ink: Quanta est gula, quae sibi totos ponit Apros; middle center in black ink: Solus amor veneris, sola insatiata cupido / Sollicitat mentem stimulis, stimulus domat effera corda. / Quis nisi te dominum vitae mortisque fatetur / Magne amor, et Regum et populorum maxime princeps?; lower center in brown ink: Actus Aper, setis iram denunciat hirtis: / Et ruit oppositi nitens in vulnera ferri / Pressus, et emisso moritur su[per]viscera telo.
Wikidata ID
Q64590838