PIETER VAN DER HEYDEN (CIRCA 1530-1572) AFTER PIETER BRUEGEL THE ELDER (1525-1569)
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PROPERTY FROM AN IMPORTANT FAMILY COLLECTION
PIETER VAN DER HEYDEN (CIRCA 1530-1572) AFTER PIETER BRUEGEL THE ELDER (CIRCA 1525-1569)

The Stone Operation, or: The Witch of Malleghem

Details
PIETER VAN DER HEYDEN (CIRCA 1530-1572) AFTER PIETER BRUEGEL THE ELDER (CIRCA 1525-1569)
The Stone Operation, or: The Witch of Malleghem
engraving, 1559, on laid paper, watermark Bunch of Grapes in a Shield with Letters (similar to Briquet 13215), a very fine, dark impression of the third state (of five), printing richly and evenly, trimmed just into the subject, with much offsetting of the same subject verso, some minor repairs, generally in very good condition
Sheet 326 x 463 mm.
Provenance
With Paul Prouté, Paris.
A Family Collection, USA; acquired from the above in 1977.
Literature
Van Bastelaer, Hollstein 59 (Heyden), 193; Lari 157; New Hollstein 38
M. Bassens & J. van Grieken, Bruegel - The Complete Graphic Works, Brussels, 2019, no. 18.

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Lot Essay

The place name of 'Malleghem' in title of this print - not be confused with Maldegem in East Flanders - would have been understood to mean 'village of fools', malle being Dutch for 'foolish' or 'silly'. However, the inventory of Hieronymus Cock's widow Volcxken Diericx suggests that the original title was De Keisnijder (lit. 'stonecutter'). Stonecutters were quacksalvers promising to cure the afflicted through spurious operations - anyone who behaved strangely was said to have 'a stone in his head' (Marijnissen 1988 and Orenstein 2006 [cit.], Sellink, p. 125). In this engraving Bruegel combines the popular genre of lampooning the quacksalver with a satirical dig at human folly in general. The image incorporates several proverbs that have a bearing on the subject, though some details are yet to be explained or interpreted.
At the lower left an apothecary looks glumly on, as potential customers consult his rival. A woman, perhaps his wife, shows him the stone she just had removed. The figure kneeling under the table is a witty reminder that we are all deluded in the end. With a joker up his sleeve to signify deceit, he points at the bowl from which the quacksalver takes the stones.

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