Juan de la Corte Paintings & Artwork for Sale | Juan de la Corte Art Value Price Guide

Oct. 31, 2024
ATRIBUIDO A JUAN DE LA CORTE (AMBERES, CIRCA 1585 - MADRID, 1662)
Est: €10,000 - €15,000
Attributed to Juan de la Corte (Antwerp, c. 1585 – Madrid, 1662) "Palace with Figures in a Garden featuring the Fountain of Heracles and the Hydra" Oil on canvas. Still on its original canvas but with added margins to attach it to the new stretcher. 100 x 183 cm. In this large-scale work, the artist depicts a mythological scene likely drawn from Pausanias and Pliny, describing one of the preliminary events leading to the Trojan War. This significant painting by Juan de la Corte remained unpublished until recently. Juan de la Corte, a Flemish-born painter settled in Spain, specialised in mythological, biblical, and battle scenes. He also received notable commissions for views of palaces and cities, such as the famous painting depicting Madrid's Plaza Mayor. In some of his artworks, including this one, he incorporates known gardens and palaces as background settings. The vegetation in this painting appear to resemble the gardens of the Buen Retiro from his time, while the architectural elements and fountains bear a clear similarity to palatial constructions from the early Habsburg period. The painting situates us in a palatial garden with a fountain dedicated to the battle between Heracles and the Hydra, while also portraying the moment Ulysses discovers Achilles among the daughters of Lycomedes. Achilles was the son of Peleus, King of Phthia in Thessaly and a descendant of Jupiter, and Thetis, daughter of Oceanus. An oracle foretold Thetis that her son would die before the walls of Troy. To prevent his participation in the war, Thetis hid Achilles by disguising him as a maiden and sending him to the Court of Lycomedes, King of Scyros, where he lived for nine years with the king's daughters, under the name Pyrrha, due to his golden hair. Ulysses, who needed Achilles to conquer Troy, arrived at Lycomedes’ court disguised as a merchant. He offered his wares to the maidens, laying out fine fabrics, jewels, and among them, a few valuable weapons. Achilles revealed himself by immediately reaching for a sword, unlike the other maidens, thus sealing his fate in the Trojan War.
La Suite Subastas
Sep. 12, 2024
Warrior Pre Colombian Tumaco Ecuador Head, 200-500 BC, in terracotta
Est: €800 - €1,200
Measurements: 8 x 7 x 6,5 cm, ex Spanish Private collection, Barcelona.
Templum Fine Art Auctions
Jul. 18, 2024
Pair of Important "Capriccios" Juan de la Corte (Antwerp 1585 - Madrid, 1662) Hispano - Flemish school of the 17th century
Est: €10,000 - €12,000
Pair of oil paintings on canvas. Measurements of each canvas: 80 x 60 cm, measurements of each framed one: 100 x 85 cm. Documented since 1616 as a court painter for the Buen Retiro Palace project of Philip IV, of which there are 50 documented commissions, after the demolition by the Revolutionary Government of 1868 and its demolition, many of his works were lost. His subject matter focuses on 'architecture, battles and countries', genres among which he was known inside and outside the Royal Court of Spain. There are documented works from 1623 - Fiesta in the Plaza Mayor of Madrid in honor of the Prince of Wales - always manifesting his Flemish training and the use of prints of the same origin. Its landscapes and architectural perspectives are usually populated with small figures forming biblical or mythological scenes. Sometimes they are grouped in series, such as the one dedicated to the Victories of Charles V, preserved in the Spanish Embassy in London. Provenance: important private collection in Madrid.
Templum Fine Art Auctions
Apr. 25, 2024
ATTRIBUTED TO JUAN DE LA CORTE (ANTWERP, CIRCA 1585 - MADRID, 1662)
Est: €18,000 - €22,000
Attributed to Juan de la Corte (Antwerp, circa 1585 - Madrid, 1662) "The Abduction of Helen" Oil on canvas. 97,5 x 138 cm. The Museo del Prado preserves an oil on canvas by Juan de la Corte (inv. P003102) depicting the same scene, practically identical in composition, style and colouring to the present work. In its description of the work, the museum states that "the theme was much repeated in the painter's oeuvre and several versions, with minor variations, of the same subject are known in private collections", information that supports our attribution of the present painting to de la Corte. Apart from minor variations in some of the positions and expressions of the secondary figures and slight compositional differences in the upper right-hand margin, the similarity in the triangle on the barge is unquestionable. They are the white Helen standing amid the chaos and ferocity of the tragic scene, Paris at the prow of the boat, and an enraged Hercules, dressed in a lion's skin, fighting with a spike in his hands against the soldiers who are trying to prevent the boat from moving. These soldiers, sent by Helen's husband Menelaus, "come to the rescue of their queen from a circular, vaulted building decorated with pilasters reminiscent of Agrippa's Pantheon in Rome", as the Prado illustrates. Born in Antwerp, a fact which is documented in his will, Juan de la Corte probably trained in Flanders but developed his career mainly in Spain, especially at the Court in Madrid. As indicated in a catalogue of an exhibition held in the University of Salamanca in 2006, "his activity for the Crown of Spain, which continued from 1615, focused mainly on the Buen Retiro Palace, for which he made more than 50 paintings, of which almost all are lost according to the royal inventories." Regarding his favourite themes, Juan de la Corte himself, as reported by the Prado, confessed that he "focused on 'architecture, battles, and countries,' genres in which he was highly valued by his contemporaries." He is, in fact, "the Spanish painter who most frequently depicts themes from the Trojan War cycle". Bibliographic references: - Several authors. (2006). "Imágenes de un siglo. Luces del barroco. Pintura española del siglo XVII". CCM. Universidad de Salamanca. - Museo del Prado. (n.d.). "Corte, Juan de la". https://www.museodelprado.es/aprende/enciclopedia/voz/corte-juan-de-la/4236322c-50b0-4cfa-aa66-36a16bb44dda - Museo del Prado. (n.d.). "El rapto de Helena". https://www.museodelprado.es/coleccion/obra-de-arte/el-rapto-de-helena/f2ca6e0a-319b-4327-9979-aaff6c30a2dd
La Suite Subastas
Mar. 07, 2024
JUAN DE LA CORTE (ANTWERP, CIRCA 1585 - MADRID, 1662)
Est: €25,000 - €35,000
Juan de la Corte (Antwerp, circa 1585 - Madrid, 1662) 'David and Bathsheba' Oil on canvas. 152.2 x 189 cm. Published in the catalogue of the exhibition 'Imágenes de un siglo. Luces del barroco. Pintura española del siglo XVII'(Images of a Century. Lights of the Baroque. Spanish Painting of the 17th Century), which took place at the University of Salamanca in 2006. Born in Antwerp, a fact which is documented in his will, Juan de la Corte probably trained in Flanders but developed his career mainly in Spain, especially at the Court in Madrid. As indicated in the exhibition catalogue: 'His activity for the Crown of Spain, which continued from 1615, focused mainly on the Buen Retiro Palace, for which he made more than 50 paintings, of which almost all are lost according to the royal inventories.' Regarding his favourite themes, Juan de la Corte himself, as reported by the Prado, confessed that he 'focused on 'architecture, battles, and countries,' genres in which he was highly valued by his contemporaries.' Specifically, the 'proliferation of architectural perspectives' is a prominent aspect of his work, which can be seen by taking a visual stroll through the artwork we have here. It is interesting to note that, as the catalogue states, the biblical and historical paintings of Juan de la Corte generally form part of series, some of which have King David as the protagonist, one of the most iconographically rich characters of the Old Testament, as in the case of this painting. In the same collection as this painting, there is another signed by Juan de la Corte depicting David defeating Goliath, and the same subject is developed in another canvas, dated 1639, that is in a private collection. In their catalogue of the artist's work, Ángulo and Pérez Sánchez also recorded a depiction of David and Bathsheba on the throne which was in the Buen Retiro and would also have been part of a series dedicated to the biblical king. As they continue to describe in the aforementioned catalogue: 'The scene we see here shows the moment when David observes Bathsheba, the wife of General Uriah, bathing in the garden as narrated in the Book of Kings (11.11,2-5). David fell in love with her and ordered her husband to fight in the most dangerous place on the battlefield, thus making sure he was killed. The prophet Nathan later reproached the king for his adultery, telling him that he would not escape the wrath of God, even if he repented. Generally, the scene takes place outdoors, in a garden where Bathsheba washes her feet in a basin or pool while being attended to by her maidservants. In this depiction, Juan de la Corte adheres to the conventional iconographic model, although he undoubtedly distinguishes himself from most Spanish painters of his time by portraying Bathsheba almost naked, covered by veils or semi-transparent cloths. One of her maidservants combs her long hair, and another brings her a tray with a pearl necklace, while from one of the windows of his palace, on the left, King David attentively observes the scene. In the case of this painting, the architecture and landscape in which the painter has placed the scene is also remarkable, giving us the chance to appreciate a good example of a Spanish garden from that time. Juan de la Corte tended to frame his scenes in architectural backgrounds, frequently taken from prints by artists such as Vredeman de Vries and Cornelis Galle. Examples of the former served as models for his garden scenes.' Bibliographical references: - 'Imágenes de un siglo. Luces del barroco. Pintura española del siglo XVII'. Salamanca, 2006. - Museo del Prado. (s.f.). 'Corte, Juan de la'. https://www.museodelprado.es/aprende/enciclopedia/voz/corte-juan-de-la/4236322c-50b0-4cfa-aa66-36a16bb44dda
La Suite Subastas
Nov. 23, 2023
JUAN DE LA CORTE (ANTWERP, CIRCA 1585 - MADRID, 1662)
Est: €25,000 - €35,000
Juan de la Corte (Antwerp, circa 1585 - Madrid, 1662) "Garden and Neptune Fountain" Oil on canvas. 153 x 251 cm. Born in Antwerp, as documented in his will, and probably trained in Flanders, he primarily developed his career in Spain, especially at the Court in Madrid. Juan de la Corte himself, as reported by the Prado Museum, confesses that he "focused on 'architectures, battles, and countries,' genres in which he was highly valued by his contemporaries." Specifically, the "proliferation of architectural perspectives" is a noteworthy aspect of his work, which can be seen by taking a leisurely look at the painting we have here. Additionally, he excelled in mythological themes, a subject matter uncommon in 17th-century Spain but one that the painter frequently engaged with. On the back, the label of Antonio Trillo's workshop, with the handwritten inscription: "Trillo forrador de Pinturas de S. M. Ce. de Jacometrezo Nº 80", and the remains of the label of the Junta de Incautación y Protección del Patrimonio Artístico (Board for the Seizure and Protection of Artistic Heritage). It is interesting to note that Antonio Trillo Díaz (1808-1853) was part of the painting restoration team at the Prado Museum, then known as the Royal Museum of Paintings, from 1829 onwards, working as a liner and colour grinder. As an interesting article in the Museo del Prado indicates, this initial staff was a hierarchical pyramid made up of three restorers, a liner and colour grinder and an assistant. The team was made up of the painters "José Bueno and Victoriano Gómez, both of whom had been involved in the restoration of the king's paintings from an early date" and had collaborated, before the Museum was founded, with Vicente López Portaña, First Court Painter and later Artistic Director of the Museum. Both painters, together with Pedro Bueno, José Bueno's brother, were the restorers and Manuel Fernández completed the team as an auxiliary assistant painter. The team worked in a newly built restoration room, created, organised and regulated between 1827 and 1829 and "approved by the king on the proposal of Vicente López", according to the Prado. Reference bibliography: - Museo del Prado. (n.d.). "Corte, Juan de la". https://www.museodelprado.es/aprende/enciclopedia/voz/corte-juan-de-la/4236322c-50b0-4cfa-aa66-36a16bb44dda - Ruiz Gómez, Leticia. (n.d.). "Restauración en el Museo del Prado". Museo del Prado. https://www.museodelprado.es/aprende/enciclopedia/voz/restauracion-en-el-museo-del-prado/6aee105c-9c94-4ef8-a726-de393fd7eaea
La Suite Subastas
Sep. 19, 2023
JUAN DE LA CORTE (c. 1585-1662). "Classic scene". Oil on canvas. Relined. Origin; Dukes of Medinaceli. It has inscriptions on the back. It has a frame from a later period.
Est: €30,000 - €35,000
JUAN DE LA CORTE (c. 1585-1662). "Classical Scene". Oil on canvas. Relined. Provenance; Dukes of Medinaceli. It has inscriptions on the back. It has a frame from a later period. Measurements: 119,5 cm x 166,5 cm; 120 x 176 cm (frame). The presence of a group of figures in the centre of the composition is an anecdotal device used by the artist to develop in depth an urban view inspired by antiquity. The dimensions of both elements confirm this idea. It should be noted, however, that the artist does not abandon his interest in figuration, whose clothing refers to classical patterns, and whose postures are defined by a great theatricality that harmonises with the setting in which they are represented. The artist offers us a panoramic landscape constructed from the reproduction of various classical-style monuments, to which is added the romantic concept of ruin. The present work shows an idealised landscape in which a series of ruins of clear Roman influence stand out, such as the façades that define the sides of the scene, where columns, openings with rounded arches and other classical architectural elements can be seen. With regard to the landscape genre, it is worth noting that, apart from the Venetian "veduta" model, in 17th-century Italy the type we see here prevailed, a landscape based on the classicist model. Juan De La Corte was a Flemish Baroque painter who produced much of his work in Madrid. The first record of De La Corte refers to a painting for the Palacio del Pardo, executed in 1613. He must have continued to work for the royal family in subsequent years as, when the post of painter to the king held by Bartolomé González became vacant in 1627, he was one of the twelve painters who applied for it, stating in his memorial that he had been working for the king since 1615. The post was left unfilled at that time. In 1641 the ambassador of Modena in Madrid attested that Juan de la Corte was highly esteemed for his equestrian portraits, which he placed in the landscape painting by Antonio de Puga. Juan de la Corte was, as he stated in the memorial of 1627, a painter of "architectures, battles and countries". There are numerous signed or documented works of this genre of painting dating from 1623, always evidencing his Flemish training and the use of prints of the same origin. His landscapes and architectural perspectives are usually populated with small figures forming biblical or mythological scenes. They are sometimes grouped in series, such as the one dedicated to the Victories of Charles V, now in the Spanish Embassy in London, or those belonging to the History of Troy cycle, which he painted on more than one occasion. To one of these, originally in the Buen Retiro Palace, belong the canvases of the Abduction of Helen and the Burning of Troy in the Museo del Prado. To the same museum belongs the Battle of Gascona, one of a series of battles from modern history of which there is another scattered piece. He also painted a series of Old Testament stories for the Buen Retiro. It was lost, but some loose examples of the same story survive, such as the Destruction of Sennacherib's Army in the Museo Cerralbo, signed in 1642. He was an esteemed painter, as shown by the inventories of the period, which frequently cite countries and battles painted by him.
Setdart Auction House
Nov. 22, 2022
JUAN DE LA CORTE (c. 1585-1662). "Classic scene". Oil on canvas. Relined. Origin; Dukes of Medinaceli. It has inscriptions on the back. It has a frame from a later period.
Est: €30,000 - €35,000
JUAN DE LA CORTE (c. 1585-1662). "Classical Scene". Oil on canvas. Relined. Provenance; Dukes of Medinaceli. It has inscriptions on the back. It has a frame from a later period. Measurements: 119,5 cm x 166,5 cm; 120 x 176 cm (frame). The presence of a group of figures in the centre of the composition is an anecdotal device used by the artist to develop in depth an urban view inspired by antiquity. The dimensions of both elements confirm this idea. It should be noted, however, that the artist does not abandon his interest in figuration, whose clothing refers to classical patterns, and whose postures are defined by a great theatricality that harmonises with the setting in which they are represented. The artist offers us a panoramic landscape constructed from the reproduction of various classical-style monuments, to which is added the romantic concept of ruin. The present work shows an idealised landscape in which a series of ruins of clear Roman influence stand out, such as the façades that define the sides of the scene, where columns, openings with rounded arches and other classical architectural elements can be seen. With regard to the landscape genre, it is worth noting that, apart from the Venetian "veduta" model, in 17th-century Italy the type we see here prevailed, a landscape based on the classicist model. Juan De La Corte was a Flemish Baroque painter who produced much of his work in Madrid. The first record of De La Corte refers to a painting for the Palacio del Pardo, executed in 1613. He must have continued to work for the royal family in subsequent years as, when the post of painter to the king held by Bartolomé González became vacant in 1627, he was one of the twelve painters who applied for it, stating in his memorial that he had been working for the king since 1615. The post was left unfilled at that time. In 1641 the ambassador of Modena in Madrid attested that Juan de la Corte was highly esteemed for his equestrian portraits, which he placed in the landscape painting by Antonio de Puga. Juan de la Corte was, as he stated in the memorial of 1627, a painter of "architectures, battles and countries". There are numerous signed or documented works of this genre of painting dating from 1623, always evidencing his Flemish training and the use of prints of the same origin. His landscapes and architectural perspectives are usually populated with small figures forming biblical or mythological scenes. They are sometimes grouped in series, such as the one dedicated to the Victories of Charles V, now in the Spanish Embassy in London, or those belonging to the History of Troy cycle, which he painted on more than one occasion. To one of these, originally in the Buen Retiro Palace, belong the canvases of the Abduction of Helen and the Burning of Troy in the Museo del Prado. To the same museum belongs the Battle of Gascona, one of a series of battles from modern history of which there is another scattered piece. He also painted a series of Old Testament stories for the Buen Retiro. It was lost, but some loose examples of the same story survive, such as the Destruction of Sennacherib's Army in the Museo Cerralbo, signed in 1642. He was an esteemed painter, as shown by the inventories of the period, which frequently cite countries and battles painted by him.
Setdart Auction House
Nov. 10, 2022
El triunfo de David
Est: -
.
Isbilya Subastas
Nov. 30, 2021
Juan de la Corte (Anversa 1585 - Madrid 1662)
Est: €3,000 - €5,000
Juan de la Corte (Anversa 1585 - Madrid 1662) Il tempio di Salomone Olio su tela 54 x 73 cm Pittore spagnolo di origine fiamminga, della formazione di Juan de la Corte non si hanno dati. Pare che sia avvenuta ad Anversa, dove esercitò il suo mestiere per molti anni, come riportano alcuni documenti spagnoli. Il suo arrivo in Spagna è datato intorno al 1613. Dopo la morte di Bartolomé González, avvenuta nel 1627, chiese al sovrano di poter assurgere a primo pittore del re, ma non gli fu concesso. Questo fatto non gli impedisce, comunque, di ottenere il successo presso la nobiltà locale, ottienendo anche comissioni reali, come il ciclo di storie bibliche dipinte per il palazzo del Buen Retiro.
Lucas Aste
Mar. 02, 2017
JUAN DE LA CORTE (ATTRIB.)
Est: -
JUAN DE LA CORTE (ATTRIB.) (Amberes, h. 1585-Madrid, 1662). "La Toma de Granada", óleo sobre lienzo, 60x100 cm.
Sala de Ventas
Jan. 25, 2017
ATTRIBUTED TO JUAN DE LA CORTE (Antwerp, c. 1585 - Madrid, 1662). Oil on canvas
Est: -
ATRIBUIDO A JUAN DE LA CORTE (Amberes, h. 1585 - Madrid, 1662) Eneas y Anquises huyendo de la destrucción de Troya Óleo sobre lienzo 102 x 144 cm
Isbilya Subastas
Dec. 22, 2016
JUAN DE LA CORTE (ATTRIB.)
Est: -
JUAN DE LA CORTE (ATTRIB.) JUAN DE LA CORTE (ATTRIB.), (Amberes, h. 1585-Madrid, 1662). "Escena de batalla", óleo sobre lienzo, 45x68 cm.
Sala de Ventas
Oct. 19, 2016
CIRCLE OF JOHN OF THE COURT - THE WEDDING OF PELEUS AND THETIS
Est: -
CÍRCULO DE JUAN DE LA CORTE (Amberes, h. 1585 - Madrid, 1662) Las bodas de Tetis y Peleo 123 x 97 cm Óleo sobre lienzo
Isbilya Subastas
Oct. 15, 2015
Madrid school 17th century.Juan de la Corte circle
Est: €4,500 - €6,000
Madrid school 17th century.Juan de la Corte circle (Antwerp, c. 1585 - Madrid, 1662) "Marriage of Thetis and Peleus" Oil on canvas. 97 x 122 cm.
La Suite Subastas