Artwork

Plate 39: A Scaup with Two Other Waterfowl beneath a Garland of Produce

Plate 39: A Scaup with Two Other Waterfowl beneath a Garland of Produce 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:Upper center in (gold?): Virtutem altitudinus COELI., ipse conspicit: et / omnes homines terra, et cinis.Ecc[us] 17. (“He beholds the power of the height of heaven; and all men are earth and ashes.” Ecclesiasticus 17:31) (Latin Vulgate Bible); center right in gold: XXXIX.; birds in image numbered .1., .2., and .3., in red ink Facing page: Upper center in black ink: Exaltare sup[er] Coelos Deus: et in omnem / terram gloria tua. ps: 57. (“Be thou exalted, O God, above the heavens; and your glory above all the earth.” Psalms 56:12) (Latin Vulgate Bible); lower center in red/violet ink: Qui expandit sicut nihilum COELOS: et extendit / eos sicut Tabernaculum ad Inhabit[n]dum. Isa.40. (“He stretches out the heavens as nothing, and spreads them out as a tent to dwell in.” Isaiah 40:22) (Latin Vulgate Bible)

About this work

Overview

Created around 1594 by Joris Hoefnagel, this watercolor and gold-painted parchment drawing belongs to a series of naturalistic illustrations.

Created around 1594 by Joris Hoefnagel, this watercolor and gold-painted parchment drawing belongs to a series of naturalistic illustrations. It depicts three waterfowl near a pond’s edge, framed above by a circular arrangement of seasonal produce and flowers. The work exemplifies the intersection of scientific documentation and decorative art in late Renaissance manuscript culture, where accuracy and ornamentation coexisted within a single composition.

Subject & Meaning

The three waterfowl, centered around a scaup, are rendered with precise anatomical detail, suggesting observational study. Above them, a garland of gourds, roots, and blossoms encircles the scene like a ceremonial wreath. This juxtaposition of wild birds and cultivated plants may reflect Renaissance ideals of harmony between nature and human cultivation, or serve as a symbolic inventory of earthly abundance.

Technique & Style

Hoefnagel employed fine watercolor washes to capture the subtle textures of feathers and foliage, while gold paint outlines the composition and highlights edges, lending luminosity without overt grandeur. The parchment surface enhances the delicacy of the pigments. The style merges meticulous naturalism with rhythmic, almost heraldic composition, characteristic of northern European manuscript traditions transitioning toward independent still-life forms.

History & Provenance

This plate was likely part of a larger illuminated manuscript commissioned for a noble or scholarly patron, possibly intended as a cabinet of natural wonders. Hoefnagel’s work during this period often circulated in private collections before being bound into codices. Its survival as a single sheet suggests later separation from its original volume, a common fate for illustrated folios after the 17th century.

Context

In late 16th-century northern Europe, interest in natural history surged alongside the rise of empirical observation. Artists like Hoefnagel bridged the gap between medieval manuscript traditions and emerging scientific illustration. His integration of flora and fauna into ornamental frameworks mirrored the broader cultural fascination with collecting, cataloging, and aesthetically organizing the natural world.

Legacy

Hoefnagel’s integration of biological accuracy with decorative structure influenced later still-life painters and naturalists. While not widely exhibited in his time, his works contributed to the visual language of botanical and zoological illustration, helping to establish a precedent for the independent study of nature as both subject and art form in early modern Europe.