Who painted Plate 38: Burbot, Rockling, and Other Fish?

Plate 38: Burbot, Rockling, and Other Fish was painted by Joris Hoefnagel in 1594.

Where can I see Plate 38: Burbot, Rockling, and Other Fish?

Plate 38: Burbot, Rockling, and Other Fish is held by National Gallery of Art.

What movement is Plate 38: Burbot, Rockling, and Other Fish?

Plate 38: Burbot, Rockling, and Other Fish is associated with Renaissance.

Can I buy a print of Plate 38: Burbot, Rockling, and Other Fish?

Museum-quality prints of Plate 38: Burbot, Rockling, and Other Fish are available made-to-order from Artifact World Gallery.

Artwork

Plate 38: Burbot, Rockling, and Other Fish

Joris Hoefnagel , 1594

Plate 38: Burbot, Rockling, and Other Fish is a gouache drawing by the Renaissance artist Joris Hoefnagel. It dates from 1594 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:Fish in image numbered .1., .2., .3., .4., .5., and .6., in red ink; center right in (gold?): XXXVIII. Facing page: upper center in blue ink: Quis non et virides, vulgi solatia Tincas / Norit: et Alburnos pr[a]edam puerilibus hamus.; lower center in red/violet ink: Da veniam quaeso, nimioq[ue] ignosce timori: / Tranquillas etiam, naufragus horret AQVAS.

About this work

Overview

Created around 1594, this miniature drawing by Joris Hoefnagel depicts five distinct fish arranged within a delicate blue circle on parchment. Executed in watercolor with touches of gold, the composition combines natural observation with a decorative border, presenting the specimens as both scientific study and ornamental illustration.

Subject & Meaning

The work features a burbot, a rockling, and three additional fish, each rendered with careful attention to shape, scale and coloration. Numbers beside each figure suggest a classificatory purpose, indicating Hoefnagel’s intent to differentiate species for reference or teaching.

Technique & Style

Hoefnagel employed transparent watercolor washes, building color through successive glazing to achieve subtle tonal variations. Gold paint outlines the circular frame, adding a luminous edge typical of illuminated manuscript borders. The precise line work and realistic rendering align with the emerging natural‑history illustration tradition of the late sixteenth century.

History & Provenance

As one of the final products of a manuscript illuminator, the piece reflects Hoefnagel’s transition from courtly book decoration to independent natural‑studies. It belongs to a series of plates that circulated among collectors interested in flora and fauna, illustrating the artist’s role in the early diffusion of scientific imagery in northern Europe.

Context

The drawing emerges at a time when Flemish artists were expanding the genre of floral and animal still‑life, merging empirical observation with decorative art. Hoefnagel’s work bridges the gap between Renaissance curiosity cabinets and the systematic illustration practices that would later dominate natural history publishing.