Who painted Plate 39: Three Puppies with a Crate and a Bunch of Grapes?

Plate 39: Three Puppies with a Crate and a Bunch of Grapes was painted by Joris Hoefnagel in 1580.

Where can I see Plate 39: Three Puppies with a Crate and a Bunch of Grapes?

Plate 39: Three Puppies with a Crate and a Bunch of Grapes is held by National Gallery of Art.

What movement is Plate 39: Three Puppies with a Crate and a Bunch of Grapes?

Plate 39: Three Puppies with a Crate and a Bunch of Grapes is associated with Renaissance.

Artwork

Plate 39: Three Puppies with a Crate and a Bunch of Grapes

Joris Hoefnagel , 1580

Plate 39: Three Puppies with a Crate and a Bunch of Grapes is a gouache drawing by the Renaissance artist Joris Hoefnagel. It dates from 1580 and is held in the collection of the National Gallery of Art. Created in 1580, this small-scale work combines watercolor and gold pigment on parchment.

About this work

Overview

Created in 1580, this small-scale work combines watercolor and gold pigment on parchment. It depicts three young dogs interacting with a wooden crate, a cluster of red grapes, and a solitary pear, set against a grassy ground. The composition is framed within a circular border, typical of miniature illustrations intended for inclusion in a manuscript.

Subject & Meaning

The scene captures the playful curiosity of the puppies as they explore the objects before them. A Latin proverb runs across the top, translating to “Dogs smell things far away, but their own stench too,” linking the visual narrative to a moral observation about animal behavior, a common feature of didactic animal books of the period.

Technique & Style

The artist employed transparent watercolor washes layered to achieve depth, while fine gold accents highlight details such as the grapes’ skin and the crate’s edges. The rendering is meticulous, with careful observation of fur texture, foliage, and fruit, reflecting the precision characteristic of Flemish miniature painting.

History & Provenance

The piece is part of a larger illustrated volume on animals, likely commissioned for a private collector interested in natural history. Its creator, a noted Flemish miniaturist, contributed numerous such plates, and the work has remained within the manuscript tradition that linked scientific observation with decorative art.

Context

During the late sixteenth century, Flemish artists increasingly turned to natural subjects, laying groundwork for the development of still‑life and floral painting in northern Europe. This illustration exemplifies that shift, merging scientific interest with the decorative conventions of illuminated books.