Pieter Brueghel the Elder Estampes & Gravure

This unique painting done in the manner of Pieter Brueghel the Elder relays a sense of winter cheer. Monumental in size, this delightful work transports us to this quaint village scene, as if we are partaking in the winter festivities alongside these joyful characters.

Wonderfully large and detailed, this engraving shows a wealth of visual information. Brueghel captures the folly that drives the man who thinks he can make gold from nothing.

Belonging to Brueghel's series "The World of Seven Virtues," this engraving depicts measures of Justice common in the artist's day. Brimming with detail, this work challenges the viewer to discern the scenes within the scene.

This original engraving from Brueghel's "The World of Seven Virtues" personifies Hope as a calm, assured woman. Unruffled in roiling waters, she anchors the chaotic scene at its center.

Offering a scenic view of the Alpine landscape, this work was likely based on a drawing that Brueghel made while traveling through the Alps. We witness majestic mountains dotted with trees and wildlife spanning over a great distance. Noteworthy is the figure on horseback to the right, who perhaps represents Brueghel as traveler, gazing out on the vast scenery before him.

This curious piece, though fun and comical in appearance, addresses a somewhat dark subject matter - the concept that "No one knows himself." The bustling, bearded figures search desperately amidst a wealth of objects, yet Brueghel implies that no amount of material gain will lead to personal enlightenment.

The original parable from which this work is based is one of biblical morale and curious interest. Its main message includes Christian undertones, using five wise virgins and five foolish virgins as its heroines. Taken from the Gospel of Matthew (25:1-13), each of the ten virgins were supplied with oil lamps, but only five took extra oil with them to light their way. The five “foolish” virgins without the extra oil, were out and left in the dark while the blushing bridegroom received the five virgins ready “well-lit” for his visit.

Taken from Bruegels (Breda, 1525 - Brussels, 1569) series of “The World of Seven Virtues,” Prudence is represented here as an allegorical figure, personifying one of the cardinal virtues to living a wholesome, meaningful life. Full of intricate detail, this panorama of several characters serves to represent varying examples of forms of prudence.

Taken from Bruegels (Breda, 1525 - Brussels, 1569) series of “The World of Seven Virtues,” 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.

Taken from Bruegels (Breda, 1525 - Brussels, 1569) series of "The World of Seven Virtues," the church-going scene in Faith is a slightly satirical take on those worshippers who, during Bruegels time, sought to make direct connections with God without interference from the church. It is a crowded, almost energetic scene with a series of vignettes scattered throughout the composition. Central to the work, Faith is portrayed as a nun surrounded by imagery of Christ and the Crucifixion.

Intricately detailed with beautiful line work, this piece depicts a serene landscape with tranquil figures seated in a moments rest. Drawing the viewer's eye into the picture through the use of variation in value, this work evokes a sense of atmosphere with the gradual transition of dark values in the front and light values in the distance.

Conveying a magnificent landscape, this stunning work is notable for Brueghel's incredible attention to detail. Upon further observation we notice curious characters and components that contribute to the overall charm. Curiously, St. Jerome and his lion do not immediately pop out as the main subjects of this work, as they dwell in the lower right corner, nearly blending in with the landscape. This leads us to infer that Brueghel perhaps wanted to focus more on the spectacular landscape than the persona of his subject.