Pieter van der Borcht (I) or Peter van der Borcht was a Flemish Renaissance painter, draughtsman and etcher. He is regarded as one of the most gifted botanical painters of the 16th century. Pieter van der Borcht the Elder also introduced new themes such as the 'monkey scene' (also called 'singerie') into Northern art.

He was born in Mechelen. There are indications that Pieter van der Borcht was the son of Jacques van der Borcht. Jacques van der Borcht was an artist who was regarded in 1562 as the dean of the Mechelen Guild of Saint Luke. Pieter van der Borcht is recorded in 1564 as working from Mechelen for Christopher Plantin, who operated a famous book printing and publishing enterprise in Antwerp. He supplied Plantin with the drawings for the engravings for many scientific publications by Plantin such as the works of Rembert Dodoens, Carolus Clusius and Matthias de l'Obel.

While van der Borcht was still living in Mechelen in 1572, the city, which had risen against the Spanish occupiers was retaken and sacked by Spanish troops under the Duke of Alva. The plundering of the city lasted for three days. Van der Borcht and his family were able to flee to Antwerp. Here Plantin gave them free lodgings in his own house. A letter of Plantin testifies to the fact that the departure from Mechelen of the van der Borcht family must have been very sudden, as on their arrival in Antwerp both parents were sick and their children naked.

Van der Borcht did not leave Antwerp, where he became a full-time assistant of Plantin. He illustrated many liturgical books published by Plantin, mainly for the Spanish market. He probably became a member of the Antwerp Guild of Saint Luke in 1580 and was its dean from 1589 to 1592. Some art historians have questioned that the ‘Pieter Verborcht, painter’ who became a master in the Guild of Saint Luke in Antwerp in 1580 and served as its dean in 1591 and 1592 was the same as Pieter van der Borcht (I) since it was unlikely that a non-citizen would be allowed to hold this position in the Guild at that time.

Pieter had a son also called Pieter van der Borcht, who became an artist. It is not clear whether he is one of the painters active under that name in Brussels.