Artwork

Plate 43: Sandpipers and Other Shore Birds Admiring a Garland of Flowers

Plate 43: Sandpipers and Other Shore Birds Admiring a Garland of Flowers 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 red/violet ink: NEQVE FABAS, NEQVE ALLIVM.; center right in (gold?): XXXXIII; birds in image numbered .1., .2., .3., .4., and .5., in red ink; lower center in red/violet ink: AEGYPTIIS; lower center in (gold?): Porrum et c[a]epe nefas violare, ac frangere morsu: / O sanctas gentes, quibus haec nascsuntur In hortis / Numina. Facing page: Upper center in black ink: Cum sit avus comiunx, et sint tibi mortua membra / Nil aliud bulbis, quam satur esse potes.; lower center in black ink: Fila tarentini graviter redolentia porri / Edisti quoties, oscula clausa dato.

About this work

Overview

Created circa 1594, this small-scale work by Flemish artist Joris Hoefnagel combines watercolor and gold on parchment.

Created circa 1594, this small-scale work by Flemish artist Joris Hoefnagel combines watercolor and gold on parchment. It depicts a group of shorebirds gathered beside a watery margin, beneath a delicate garland of blossoms and foliage. The composition balances natural observation with ornamental design, characteristic of Hoefnagel’s interest in both scientific illustration and decorative manuscript art.

Subject & Meaning

Five birds, four dark‑toned sandpipers and a reddish‑brown specimen, stand on grass near water, gazing upward at a suspended wreath of yellow, pink and blue flowers tied with a ribbon. A Latin inscription above reads “Ne fabae, ne allia,” translating to “Neither beans nor garlic,” suggesting a possible allegorical or moral undertone that was common in emblematic imagery of the period.

Technique & Style

Hoefnagel employs fine, translucent washes of watercolor to render feathers and petals, building depth through successive glazing. Gold leaf accents highlight the wreath and certain plumage details, adding a luminous quality. The brushwork is meticulous, giving the flora a near‑tactile presence while maintaining a restrained, flat background that emphasizes the central figures.

History & Provenance

The drawing belongs to a series of natural‑history plates produced by Hoefnagel for a manuscript that circulated among learned collectors in the late sixteenth century. Although the original codex is now dispersed, this particular plate has been preserved in a European museum collection, where it continues to illustrate Hoefnagel’s role in merging scientific observation with artistic elegance.

Context

Hoefnagel’s work contributed to the emergence of topographical and floral still‑life genres in northern Europe, influencing later botanical illustrators and decorative painters. By integrating accurate bird depictions with ornamental motifs, he helped bridge the gap between empirical study and decorative art, a synthesis that resonated throughout the Baroque period’s natural‑history publications.