PIETER VAN DER HEYDEN (CIRCA 1530-1572) AFTER PIETER BRUEGEL THE ELDER (1525-1569)
PIETER VAN DER HEYDEN (CIRCA 1530-1572) AFTER PIETER BRUEGEL THE ELDER (1525-1569)

Big Fish eat little Fish

Details
PIETER VAN DER HEYDEN (CIRCA 1530-1572) AFTER PIETER BRUEGEL THE ELDER (1525-1569)
Big Fish eat little Fish
engraving
1557
on laid paper, watermark Gothic P and countermark small Gothic P
a fine impression of this rare print
first state (of three), published by Hieronymus Cock, Antwerp
printing strongly, with good contrasts and a subtle plate tone
with thread margins
some folds and creasing in places
generally in very good condition
Plate 228 x 297 mm.
Sheet 231 x 298 mm.
Literature
Bastelaer, Hollstein 139; Lari 134; New Hollstein (Bruegel) 31; New Hollstein (Heyden 146); Hollstein (Bosch) 23; Hollstein (Cock) 137.
J. van Grieken, G. Luijten, J. van der Stock, Hieronymous Cock - The Renaissance in Print, New Haven & London, 2013, no. 67 (another impression illustrated).
M. Bassens & J. van Grieken, Bruegel - The Complete Graphic Works, Brussels, 2019, no. 8 (another impression illustrated).
M. Bass & E. Wyckoff, Beyond Bosch - The Afterlife of a Renaissance Master in Print, Saint Louis Art Museum & Harvard University Art Museums, 2015, no. 11; p. 126-129 (another impression illustrated).

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Lot Essay

Pieter Bruegel worked very closely with Pieter van der Heyden and other engravers, and the publisher Hieronymus Cock, on the translation of his works into the print medium. He made very detailed preparatory drawings for his prints, a considerable number of which have survived. The model drawing for this print, carefully executed in pen, brush and ink and dated 1556, is at the Albertina, Vienna (inv. no. 78755).
The composition illustrates a proverb, very popular during Bruegel's time and still as poignant today as it was back then: small fish get eaten by big fish. The moral of the image however seems to be that even the biggest fish one day get eaten and that - no matter how big and strong they become - they will eventually meet their end like any other.
Bruegel illustrates this universal tale in a most entertaining and grotesque way, although the print falsely proclaims Hieronymus Bosch as the inventor of this image - probably a marketing trick by the astute publisher Hieronymous Cock in Antwerp, who was the 'biggest fish' of print-publishing in the Low Countries at the time.

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