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

Dec. 17, 2024
GABRIEL DE LA CORTE Madrid 1648 - 1694 Virgin of Bethlehem i
Est: -
GABRIEL DE LA CORTE Madrid 1648 - 1694 Virgin of Bethlehem in a floral border Oil on canvas Dimensions 105 x 82 cm The Madrid painter Gabriel de la Corte was one of the greatest exponents of flower painting in the Spanish Baroque. Among his famous compositions are floral borders, a decorative genre that combined devotional and naturalistic elements. These borders consisted of exuberant frames of flowers made in great detail that surrounded religious images, portraits or allegorical themes. This style, indebted to Flemish painting, sought to exalt devotion and underline the sacred character of the works through visual richness. In the centre of a rich and delicate floral festoon that emerges from a neutral background appears the Virgin with the Child in her arms, in her Marian devotion of the Virgin of Bethlehem, patron of the Congregation of hermits of the Sierra de Córdoba, whose devotion spread throughout Spain, especially in the Villa y Corte. Bibliography: - Cherry, Peter., Art and nature. Spanish still life in the Golden Age, Madrid, 1999, pp. 313 and 314.
Subastas Segre
Dec. 03, 2024
GABRIEL DE LA CORTE (Madrid, 1648 - 1694) "Vase ". Oil on c
Est: -
GABRIEL DE LA CORTE (Madrid, 1648 - 1694) "Vase ". Oil on canvas 81 x 62 cm. GABRIEL DE LA CORTE (Madrid, 1648 - 1694) "Florero ". Óleo sobre lienzo Medidas:81 x 62 cm.
Magna Art Auctions
Oct. 28, 2024
Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). Spanish school, XVII century. "Vase". Oil on canvas.
Est: €4,000 - €5,000
Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). Spanish school, XVII century. "Vase". Oil on canvas. Measurements: 87.5 x 74 cm: 98 x 83.5 cm (frame). This painting follows a compositional scheme that knew great boom during the Spanish Baroque: The still lifes of flowers. In the way of resolving the varied bouquets of cheerful colors, in which a dense brushstroke of bright pigment has been used, the hand of Gabriel de la Corte is recognizable. The chromatic juiciness of the floral piece advances rococo solutions, which break symmetry and tend to horror vacui. The painter has frozen the moment of maximum maturity of the flower, prior to its decay. The dark background highlights the light of the still life, extracting a wide range of shades. The freedom of execution and vigorous brushstroke are reminiscent of the work of the master from Madrid. Specializing in the execution of vases, Gabriel de la Corte was the son of another painter from Madrid, Lucas de la Corte, although his paternity has been the subject of debate among important scholars such as Antonio Palomino and Cean Bermúdez. During his lifetime, De la Corte's success was scarce, which led him to eke out a meager living by painting at low prices and even completing the works of other artists by inserting flowers in his works. He was known for the use of an overloaded composition in which the freedom of the workmanship and the spontaneous and vigorous touch of the brush loaded with matter prevail. De la Corte's style is influenced by those of Arellano and anticipates the flower still lifes that, later on, would be crowded with complicated compositions on tremendously elaborated cartouches. Some important works by De la Corte are preserved in the Prado Museum, among other important institutions.
Setdart Auction House
Oct. 01, 2024
Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). "Allegory of time with a border of flowers". Oil on canvas. Relined. Work reproduced in Peter Cherry, "El bodegón español en el siglo de Oro.
Est: €9,000 - €12,000
Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). "Allegory of time with a border of flowers". Oil on canvas. Relined. Work reproduced in Peter Cherry, "El bodegón español en el siglo de Oro. Foundation for the Support of the History of Hispanic Art. 1999.p. 46. Measurements: 32 x 40 cm; 40.5 x 52 cm (frame). We see in this canvas a typical composition of the baroque period inherited from the Low Countries. It is a scheme that combines a garland with an allegorical representation of devotional type in the interior. The author combines the genres of painting in search of greater sumptuousness and a sense of theatricality, almost trompe l'oeil, very much to the taste of Baroque painting. It should be noted that, in this type of composition, the flowers are not simply a secondary or accessory element, but are worked with the same care and quality as the central image. In fact, sometimes they even show a more skilled hand, as these works were often the result of the collaboration of a painter of flowers and another specialized in the human figure. In this particular work a great mastery can be appreciated, both in the floral composition and in the scene depicted inside. An image in which the Eucharist is glorified. The aesthetics of the work resembles the stylistic patterns of the Baroque painter Gabriel de la Corte, specialized in the realization of vases, he was the son of the painter Lucas de la Corte, also from Madrid, although his paternity has been the subject of debate among important scholars such as Antonio Palomino or Cean Bermudez. During his lifetime, De la Corte's success was scarce, which led him to eke out a meager living by painting at low prices and even completing the works of other artists by inserting flowers in their works. The work presented here follows, therefore, the basic characteristics of Gabriel de La Corte, presenting a pair of paintings of flowers arranged in vases, originating an overloaded composition in which the freedom of the invoice and the spontaneous and vigorous touch of the brush loaded with matter prevail. De la Corte's style is influenced by those of Arellano and anticipates the still lifes of flowers that, later on, will be crowded with complicated compositions on tremendously elaborated cartouches. Thus, we are faced with two mature works by De la Corte, in which the vases are filled with dense and varied bouquets of brightly colored flowers, made from dense brushstrokes. Of marked verticality, these are imaginative compositions that prelude the arrival of rococo, in which symmetry is broken with and tends to horror vacui. In them, the flowers still appear full, voluminous, in all their splendor, as will be typical of the baroque (in the rococo, however, the flowers will be preferred half-open, not so full). However, the vases are placed in the strict center of the painting, contained in elaborate vases, on pedestals finished in rocaille and before a dark background on which the flowers are cut out, vividly illuminated. However, the arrangement of the flowers has already lost the strict rigor and austerity of the naturalistic baroque. From a luminous point of view, the fact that De la Corte has concentrated the light-colored flowers in a single point, thus turning the luminous flowers into chromatic highlights that stand out in the composition and attract the viewer's attention, stands out. His intuitive technique, based on the realization of works painted on wet, through which the artist intends -and achieves- to transmit the impression of a wide range of tonalities, stands out. Some important works by De la Corte are preserved in the Prado Museum, among other important institutions. Work reproduced in Peter Cherry, "El bodegón español en el siglo de Oro. Foundation for the Support of the History of Hispanic Art. 1999.p. 46.
Setdart Auction House
Oct. 01, 2024
GABRIEL DE LA CORTE (Madrid, 1648 - 1694). "Saint Barbara with a border of flowers". Oil on canvas. Relined. It has Repainting and restorations on the pictorial surface. It has a XVII century frame with damage caused by xylophagous.
Est: €7,000 - €9,000
GABRIEL DE LA CORTE (Madrid, 1648 - 1694). "Saint Barbara with a border of flowers". Oil on canvas. Relined. It has Repainting and restorations on the pictorial surface. It has a XVII century frame with damage caused by xylophagous. Measurements: 31,5 x 40 cm; 40 x 51,5 cm (frame). This painting follows one of the compositional schemes that was most popular during the Spanish Baroque: the religious theme is surrounded by a garland of sensual flowers, whose prominence is not less than that of the central theme. The hand of Gabriel de la Corte is recognizable in the way of resolving the varied bouquets of cheerful colors, in which a dense brushstroke of brilliant pigment has been used. The chromatic juiciness of the floral piece advances rococo aesthetic solutions, which break symmetry and tend to horror vacui. The painter has frozen the moment of maximum maturity of the flower, prior to its decay. The enormous corollas dwarf the central image, which depicts Saint Barbara, who is portrayed holding the tower in one of her hands. The young woman is set against a dark background that highlights the thickness of the garland and the body of the protagonist. The freedom of execution and vigorous brushstroke are reminiscent of the work of the master from Madrid. Specialized in the execution of vases, Gabriel de la Corte was the son of another painter from Madrid, Lucas de la Corte, although his paternity has been the subject of debate among important scholars such as Antonio Palomino and Cean Bermúdez. During his lifetime, De la Corte's success was scarce, which led him to eke out a meager living by painting at low prices and even completing the works of other artists by inserting flowers in his works. He was known for the use of an overloaded composition in which the freedom of the workmanship and the spontaneous and vigorous touch of the brush loaded with matter prevail. De la Corte's style is influenced by those of Arellano and anticipates the flower still lifes that, later on, will be crowded with complicated compositions on tremendously elaborated cartouches. Some important works by Gabriel de la Corte are preserved in the Prado Museum, among other important institutions. It presents Repainting and restorations on the pictorial surface. It has a XVII century frame with damages caused by xylophagous.
Setdart Auction House
Jul. 25, 2024
Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). Spanish school, XVII century. "Vase". Oil on canvas.
Est: €4,000 - €5,000
Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). Spanish school, XVII century. "Vase". Oil on canvas. Measurements: 87.5 x 74 cm: 98 x 83.5 cm (frame). This painting follows a compositional scheme that knew great boom during the Spanish Baroque: The still lifes of flowers. In the way of resolving the varied bouquets of cheerful colors, in which a dense brushstroke of bright pigment has been used, the hand of Gabriel de la Corte is recognizable. The chromatic juiciness of the floral piece advances rococo solutions, which break symmetry and tend to horror vacui. The painter has frozen the moment of maximum maturity of the flower, prior to its decay. The dark background highlights the light of the still life, extracting a wide range of shades. The freedom of execution and vigorous brushstroke are reminiscent of the work of the master from Madrid. Specializing in the execution of vases, Gabriel de la Corte was the son of another painter from Madrid, Lucas de la Corte, although his paternity has been the subject of debate among important scholars such as Antonio Palomino and Cean Bermúdez. During his lifetime, De la Corte's success was scarce, which led him to eke out a meager living by painting at low prices and even completing the works of other artists by inserting flowers in his works. He was known for the use of an overloaded composition in which the freedom of the workmanship and the spontaneous and vigorous touch of the brush loaded with matter prevail. De la Corte's style is influenced by those of Arellano and anticipates the flower still lifes that, later on, would be crowded with complicated compositions on tremendously elaborated cartouches. Some important works by De la Corte are preserved in the Prado Museum, among other important institutions.
Setdart Auction House
Jun. 26, 2024
Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). Spanish school, 17th century. "Ascension of the Virgin with a garland of flowers". Oil on canvas. Relined.
Est: €4,500 - €5,000
Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). Spanish school, 17th century. "Ascension of the Virgin with a garland of flowers". Oil on canvas. Re-drawn. Measurements: 76,5 x 58 cm: 99 x 82 cm (frame). This painting follows a compositional scheme that was very popular during the Spanish Baroque period: the religious theme is surrounded by a garland of sensual flowers whose prominence is not less than that of the central theme. Gabriel de la Corte's hand is recognisable in the way the varied bouquets of brightly coloured bouquets, in which a dense brushstroke of brilliant pigment has been used, are resolved. The chromatic juiciness of the floral piece is a move towards rococo solutions, which break up symmetry and tend towards horror vacui. The painter has frozen the flower's moment of maximum maturity, prior to its decay. The enormous corollas dwarf the central image, which depicts the Ascension of the Virgin, another typical Baroque theme: three angels lead Mary to heaven. Dressed in the classic symbolic colours (white and blue), her garments flutter and give a sense of movement. The dark background emphasises the thickness of the garland and the Marian body, drawing out a wide range of tonalities. The freedom of execution and vigorous brushstrokes are reminiscent of the work of the master from Madrid. Specialising in vases, Gabriel de la Corte was the son of Lucas de la Corte, also a painter from Madrid, although his paternity has been the subject of debate among important scholars such as Antonio Palomino and Cean Bermúdez. De la Corte enjoyed little success during his lifetime, which led him to eke out a meagre living by painting for low prices and even completing the works of other artists by inserting flowers into their works. He was known for his use of an overloaded composition in which freedom of execution and a spontaneous, vigorous brushstroke full of matter are the main features. De la Corte's style is influenced by those of Arellano and anticipates the flower still lifes that would later be crowded with complicated compositions on elaborate cartouches. Some important works by De la Corte are preserved in the Museo del Prado, among other important institutions.
Setdart Auction House
Feb. 29, 2024
Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). Spanish school, 17th century. "Ascension of the Virgin with a garland of flowers". Oil on canvas. Relined.
Est: €6,000 - €7,000
Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). Spanish school, 17th century. "Ascension of the Virgin with a garland of flowers". Oil on canvas. Re-drawn. Measurements: 76,5 x 58 cm: 99 x 82 cm (frame). This painting follows a compositional scheme that was very popular during the Spanish Baroque period: the religious theme is surrounded by a garland of sensual flowers whose prominence is not less than that of the central theme. Gabriel de la Corte's hand is recognisable in the way the varied bouquets of brightly coloured bouquets, in which a dense brushstroke of brilliant pigment has been used, are resolved. The chromatic juiciness of the floral piece is a move towards rococo solutions, which break up symmetry and tend towards horror vacui. The painter has frozen the flower's moment of maximum maturity, prior to its decay. The enormous corollas dwarf the central image, which depicts the Ascension of the Virgin, another typical Baroque theme: three angels lead Mary to heaven. Dressed in the classic symbolic colours (white and blue), her garments flutter and give a sense of movement. The dark background emphasises the thickness of the garland and the Marian body, drawing out a wide range of tonalities. The freedom of execution and vigorous brushstrokes are reminiscent of the work of the master from Madrid. Specialising in vases, Gabriel de la Corte was the son of Lucas de la Corte, also a painter from Madrid, although his paternity has been the subject of debate among important scholars such as Antonio Palomino and Cean Bermúdez. De la Corte enjoyed little success during his lifetime, which led him to eke out a meagre living by painting for low prices and even completing the works of other artists by inserting flowers into their works. He was known for his use of an overloaded composition in which freedom of execution and a spontaneous, vigorous brushstroke full of matter are the main features. De la Corte's style is influenced by those of Arellano and anticipates the flower still lifes that would later be crowded with complicated compositions on elaborate cartouches. Some important works by De la Corte are preserved in the Museo del Prado, among other important institutions.
Setdart Auction House
Oct. 17, 2023
GABRIEL DE LA CORTE (Madrid, 1648-1694). "Pair of vases". Oil on canvas (x2). Relined. One of the works presents a label on the back of the Delegate Board for the Seizure, Protection and Conservation of the National Artistic Treasure.
Est: €30,000 - €35,000
GABRIEL DE LA CORTE (Madrid, 1648 - 1694). "Pair of vases". Oil on canvas (x2). Re-coloured. One of the works has a label on the back of the Junta Delegada de Incautación Protección y Conservación del Tesoro Artístico Nacional. It has a 19th century frame. Measurements: 99 x 61 cm (x2); 124 x 86 cm (frame, x2). These are two mature works by De la Corte, in which the vases are filled with dense and varied bouquets of brightly coloured flowers, executed with dense brushstrokes. With a marked verticality, these are imaginative compositions that prelude the arrival of Rococo, breaking with symmetry and tending towards horror vacui. In them, the flowers still appear full, voluminous, in all their splendour, as would be typical of the Baroque (in the Rococo, on the other hand, the flowers would be preferred half-open, not so full). However, the vases are placed in the strict centre of the painting, contained in elaborate vases, on pedestals and set against a dark background against which the brightly lit flowers are outlined. However, the arrangement of the flowers has lost the strict rigour and austerity of the naturalistic Baroque. From a luminous point of view, De la Corte concentrated the light-coloured flowers in a single point, thus turning the luminous flowers into chromatic highlights that stand out in the composition and attract the viewer's attention. Of particular note is his intuitive technique, based on wet-painting, through which the artist seeks to convey the impression of a wide range of tonalities, and succeeds in doing so. Unlike other genre painters, Gabriel de la Corte's works are characterised by overloaded compositions, freedom of execution and his spontaneous, vigorous brushstrokes laden with paint. His style foreshadowed later developments in the 18th century. Specialising in vases, he was the son of the Madrid painter Lucas de la Corte, although his paternity has been the subject of debate among important scholars such as Antonio Palomino and Cean Bermúdez. De la Corte enjoyed little success during his lifetime, which led him to eke out a meagre living by painting for low prices and even completing the works of other artists by inserting flowers into their works. He was known for his use of an overloaded composition in which freedom of execution and a spontaneous, vigorous brushstroke full of matter are the main features. De la Corte's style is influenced by those of Arellano and anticipates the flower still lifes that would later be crowded with complicated compositions on elaborate cartouches. Some important works by De la Corte are preserved in the Museo del Prado, among other important institutions.
Setdart Auction House
Sep. 19, 2023
Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). Spanish school, 17th century. "Ascension of the Virgin with a garland of flowers". Oil on canvas. Relined.
Est: €6,000 - €7,000
Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). Spanish school, 17th century. "Ascension of the Virgin with a garland of flowers". Oil on canvas. Re-drawn. Measurements: 76,5 x 58 cm: 99 x 82 cm (frame). This painting follows a compositional scheme that was very popular during the Spanish Baroque period: the religious theme is surrounded by a garland of sensual flowers whose prominence is not less than that of the central theme. Gabriel de la Corte's hand is recognisable in the way the varied bouquets of brightly coloured bouquets, in which a dense brushstroke of brilliant pigment has been used, are resolved. The chromatic juiciness of the floral piece is a move towards rococo solutions, which break up symmetry and tend towards horror vacui. The painter has frozen the flower's moment of maximum maturity, prior to its decay. The enormous corollas dwarf the central image, which depicts the Ascension of the Virgin, another typical Baroque theme: three angels lead Mary to heaven. Dressed in the classic symbolic colours (white and blue), her garments flutter and give a sense of movement. The dark background emphasises the thickness of the garland and the Marian body, drawing out a wide range of tonalities. The freedom of execution and vigorous brushstrokes are reminiscent of the work of the master from Madrid. Specialising in vases, Gabriel de la Corte was the son of Lucas de la Corte, also a painter from Madrid, although his paternity has been the subject of debate among important scholars such as Antonio Palomino and Cean Bermúdez. De la Corte enjoyed little success during his lifetime, which led him to eke out a meagre living by painting for low prices and even completing the works of other artists by inserting flowers into their works. He was known for his use of an overloaded composition in which freedom of execution and a spontaneous, vigorous brushstroke full of matter are the main features. De la Corte's style is influenced by those of Arellano and anticipates the flower still lifes that would later be crowded with complicated compositions on elaborate cartouches. Some important works by De la Corte are preserved in the Museo del Prado, among other important institutions.
Setdart Auction House
Mar. 28, 2023
GABRIEL DE LA CORTE Madrid (1648 / 1694) "Garlands of flowers with masks and brunailles representing Diana and Endymion"
Est: €33,000 - €44,000
Pair of oil paintings on canvas. Gabriel de la Corte is considered by historiography as the best representative of flower painting in Madrid in the second half of the 17th century. Supposed to be a disciple of Juan de Arellano, his style is characterized by presenting variegated compositions, with a type of loose, spontaneous and highly impastoed line. As can be seen in this pair of canvases, his coloring is very bright and through this effect he is in charge of enhancing the freshness of the different botanical species that he represents, also seeking to recreate a certain impression of movement. These flowers, with their bright colours, stand out against the neutral background of both compositions and, Far from adjusting to his taxonomic particularities, the painter focuses on capturing a beautiful vital sensationalism. In the genre of flower painting, his works are pioneers in preluding the rococo style of the 18th century, showing in many cases asymmetries and introducing novel elements of his time such as capriciously shaped architectural masks or scrolls. The pair of canvases presented here are a magnificent example of this, as they contain all these ingredients, to which is also added a beautiful pair of brunailles with the mythological theme of Diana and Endymion. In the composition on the left we find the goddess Diana, carrying the bow, but personified as Selene or the Moon by displaying the crescent moon over her head. On the right is the shepherd Endymion lying in the field. Legend has it that the goddess fell in love with Endymion and, dazzled by his beauty, acquired the habit of going to kiss him every night while he slept. By her perpetual vow of chastity and with the intention of curbing her instincts, she asked Zeus to plunge the shepherd into a deep perpetual sleep so that she could contemplate him and enjoy his company forever. The representation of the mythological passage in this pair of floral compositions clearly indicates that the client for these paintings was an educated person with great erudition and belonged to the nobility or high bourgeoisie of the time. Measurements: 100 x 80 cm. each He asked Zeus to plunge the shepherd into a deep perpetual sleep so that he could contemplate him and enjoy his company forever. The representation of the mythological passage in this pair of floral compositions clearly indicates that the client for these paintings was an educated person with great erudition and belonged to the nobility or high bourgeoisie of the time. Measurements: 100 x 80 cm. each He asked Zeus to plunge the shepherd into a deep perpetual sleep so that he could contemplate him and enjoy his company forever. The representation of the mythological passage in this pair of floral compositions clearly indicates that the client for these paintings was an educated person with great erudition and belonged to the nobility or high bourgeoisie of the time. Measurements: 100 x 80 cm. each
Ansorena
Mar. 22, 2023
GABRIEL DE LA CORTE (Madrid, 1648 - 1694). "Pair of vases". Oil on canvas (x2). Re-lined
Est: €35,000 - €40,000
GABRIEL DE LA CORTE (Madrid, 1648 - 1694). "Pair of vases". Oil on canvas (x2). Re-lined One of the works has a label on the back of the Junta Delegada de Incautación Protección y Conservación del Tesoro Artístico Nacional. It has a 19th century frame. Measurements: 99 x 61 cm (x2); 124 x 86 cm (frame, x2). These are two mature works by De la Corte, in which the vases are filled with dense and varied bouquets of brightly coloured flowers, executed with dense brushstrokes. With a marked verticality, these are imaginative compositions that prelude the arrival of Rococo, breaking with symmetry and tending towards horror vacui. In them, the flowers still appear full, voluminous, in all their splendour, as would be typical of the Baroque (in the Rococo, on the other hand, the flowers would be preferred half-open, not so full). However, the vases are placed in the strict centre of the painting, contained in elaborate vases, on pedestals and set against a dark background against which the brightly lit flowers are outlined. However, the arrangement of the flowers has lost the strict rigour and austerity of the naturalistic Baroque. From a luminous point of view, De la Corte concentrated the light-coloured flowers in a single point, thus turning the luminous flowers into chromatic highlights that stand out in the composition and attract the viewer's attention. Of particular note is his intuitive technique, based on wet-painting, through which the artist seeks to convey the impression of a wide range of tonalities, and succeeds in doing so. Unlike other genre painters, Gabriel de la Corte's works are characterised by overloaded compositions, freedom of execution and his spontaneous, vigorous brushstrokes laden with paint. His style foreshadowed later developments in the 18th century. Specialising in vases, he was the son of the Madrid painter Lucas de la Corte, although his paternity has been the subject of debate among important scholars such as Antonio Palomino and Cean Bermúdez. De la Corte enjoyed little success during his lifetime, which led him to eke out a meagre living by painting for low prices and even completing the works of other artists by inserting flowers into their works. He was known for his use of an overloaded composition in which freedom of execution and a spontaneous, vigorous brushstroke full of matter are the main features. De la Corte's style is influenced by those of Arellano and anticipates the flower still lifes that would later be crowded with complicated compositions on elaborate cartouches. Some important works by De la Corte are preserved in the Museo del Prado, among other important institutions.
Setdart Auction House
Dec. 13, 2022
GABRIEL DE LA CORTE - Pair of vases with flowers on an architectural base and a scallop in the background
Est: -
GABRIEL DE LA CORTE Madrid 1648 - 1694 Pair of vases with flowers on an architectural base and a scallop in the background. c. 1675 Oil on canvas (two) Measures 105 x 82.5 cm each This type of floral festoons accompanied by architectural elements must have been part of a decorative cycle in a palatial environment, probably ornamenting as overdoors or overwindows and giving continuity to the architecture itself. By the hand of Gabriel de la Corte other paintings of this type of flowers are known that adorn fantastic pseudo-architectural motifs; the pair of masks with flowers from the Prado Museum, another mask in the Juan Abelló collection and the decorative set of four bouquets of flowers hanging from a bronze mask from the Cerralbo Museum. Gabriel de la Corte's compositions are characterized by being very ornate, reaching the point of horror vacui, the invoice is free with a touch of a brush loaded with spontaneous and rigorous paste.
Subastas Segre
Nov. 03, 2022
Gabriel De La Corte (Madrid, 1648 – Madrid, 1694) Natura morta con uva, pesche, fichi e garofani
Est: €6,000 - €8,000
Gabriel De La Corte è un affascinante pittore della fine del Seicento di cui si sa poco e nulla. Le poche fonti a lui contemporanee che accennano alla sua vita ci informano che fu figlio del pittore spagnolo Francisco de la Corte, che era a sua volta fratello di Juan de la Corte, uno dei rari allievi noti di Velazquez. Stando alle fonti Gabriel, nonostante fosse figlio d’arte, non ebbe alcun maestro, in quanto suo padre morì che egli aveva appena dodici anni.Da autodidatta si dedicò esclusivamente alle nature morte di fiori e frutti, che eseguì sempre con grande perizia; nonostante la sua abilità, però, non riuscì mai ad avere molto successo, né incarichi importanti. È questo di certo uno dei motivi per i quali abbiamo scarse informazioni circa la sua attività. Di certo era un pittore leggermente “in anticipo” sui tempi: sfortunatamente il genere della natura morta con fiori e frutti avrà un notevole successo collezionistico soprattutto nel XVIII secolo.Il suo stile è riconoscibile grazie alla grande varietà di elementi messi in scena e al gusto per lo sfondo scuro, che quasi inghiottisce i fiori e i frutti in primo piano. In questo caso la composizione è carica di elementi: al sintetico paesaggio con cascata sullo sfondo a destra, si contrappone l’insieme dei grappoli d’uva posti sulla sinistra, resi con assoluta lucentezza e vitalità.Bibl.: A. Palomino de Castro y Velasco, El Parnaso Español Pintoresco Laureado, 1724, in 1936 C. Bernejo.
Telearte
Jun. 30, 2022
Gabriel de la Corte, 1648 Madrid – 1694 ebenda, zugeschrieben
Est: €9,500 - €12,000
STILLLEBEN MIT FRÜCHTEN UND BLUMEN Öl auf Leinwand. Doubliert. 100 x 122 cm. Verso alter Aufkleber der Ketcham Gallery in Atlanta mit Künstler- und Titelnennung. Ungerahmt. Vor linksseitig braunem Hintergrund, wohl auf einer Terrasse stehender brauner Tisch, darauf die arrangierten Objekte: ein großer hellbrauner Tontopf, aus dem die leuchtend roten Blüten einer Päonie ragen, links daneben ein großer Zweig, an dem mehrere glänzende helle und rötliche Weintraubenrispen bis zum Boden herabhängen. Auf der Platte selbst sind neben hellen Pilzen mehrere Früchte, darunter Pflaumen und Feigen, zu finden. Rechts des Tisches ragt ein Ast eines Feigenbaums nach oben und zudem sind die weiß-blauen Kacheln einer niedrigen Ummauerung zu erkennen. Im rechten Hintergrund ein hoher Berg mit Wasserfall, unter wolkenlosem blauem Himmel. Malerei in der typischen Manier des Künstlers, der Fokus dabei ganz auf die rot leuchtenden Blüten und die glänzenden Reben gerichtet. Am linken Rand teils leichter Einriss. Der Künstler war ein spanischer Maler, der sich auf die Bemalung von Vasen, Körben, Girlanden und Schildern spezialisiert hatte, die er ohne Hilfe eines Lehrer zu malen gelernt hatte. Zahlreiche Blumenstillleben gehören zu seinem Werk. (13218828) (18)
Hampel Fine Art Auctions
Apr. 19, 2022
GABRIEL OF THE COURT (Madrid, 1648 – 1694). "Jar with flowers". Oil on canvas. Relined. It has repainting and a frame from the 20th century.
Est: €6,500 - €7,500
GABRIEL DE LA CORTE (Madrid, 1648 - 1694). "Vase with flowers". Oil on canvas. Re-coloured. It has repainting and 20th century frame. Measurements: 84 x 63 cm; 102 x 82,5 cm (frame). This canvas offers us a great composition of floral motive that covers practically the whole surface. The group of flowers is placed on a wicker basket and this, in turn, on a small table or surface covered with a brown cloth. On a dark background that enhances and brightens the composition, various species of flowers such as tulips, dahlias, daffodils, roses, bluebells, among others, are joined together. The stems and leaves are twisted into arabesque shapes. Falling from the bouquet and on the cloth, there is a pink dahlia, on the other side, on the right of this same table, there is a small white butterfly with open wings. The artist painted this still life with great detail in the drawing, using a multicoloured palette with more impastoed brushstrokes in some of the flowers to enhance them, while the less visible ones are barely rendered with a fine glaze. Unlike other genre painters, Gabriel de la Corte's works are characterised by overloaded compositions, freedom of execution and his spontaneous, vigorous brushstrokes laden with paint. His style foreshadowed later developments in the 18th century. A Baroque painter specialising in vases, he was the son of the Madrid painter Lucas de la Corte, although his paternity has been the subject of debate among important scholars such as Antonio Palomino and Cean Bermúdez. De la Corte enjoyed little success during his lifetime, which led him to eke out a meagre living by painting at low prices and even completing the works of other artists by inserting flowers into their works. The present work therefore follows the basic characteristics of Gabriel de la Corte, presenting a pair of paintings of flowers arranged in vases, giving rise to an overloaded composition in which the freedom of execution and the spontaneous and vigorous touch of the brush full of matter prevail. De la Corte's style is influenced by those of Arellano and anticipates the still lifes of flowers that would later be crowded with complicated compositions on elaborate cartouches. Thus we are faced with two mature works by De la Corte, in which the vases are filled with dense and varied bouquets of brightly coloured flowers, executed with dense brushstrokes. With a marked verticality, these are imaginative compositions that prelude the arrival of Rococo, breaking with symmetry and tending towards horror vacui. In them, the flowers still appear full, voluminous, in all their splendour, as would be typical of the Baroque (in the Rococo, on the other hand, the flowers would be preferred half-open, not so full). However, the vases are placed in the strict centre of the painting, contained in elaborate vases, on pedestals finished in rocaille and set against a dark background against which the brightly lit flowers are outlined. However, the arrangement of the flowers has lost the strict rigour and austerity of the naturalist Baroque. From a luminous point of view, De la Corte concentrated the light-coloured flowers in a single point, thus turning the luminous flowers into chromatic highlights that stand out in the composition and attract the viewer's attention. Of particular note is his intuitive technique, based on the execution of wet-painted works, through which the artist seeks - and succeeds - in conveying the impression of a wide range of tonalities. Some important works by De la Corte are housed in the Museo del Prado, among other important institutions.
Setdart Auction House
Mar. 09, 2022
Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). "Vase". Oil on canvas. With label on the back of the Junta de Incautación y Protección del Patrimonio Artístico. Provenance: Former collection of Don José Lázaro Galdiano.
Est: €15,000 - €18,000
Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). "Vase". Oil on canvas. With label on the back of the Junta de Incautación y Protección del Patrimonio Artístico. Provenance: Former collection of Don José Lázaro Galdiano. Measurements: 57 x 43 cm; 74 x 60 cm (frame). Gabriel de la Corte's authorship of this work is evident, firstly, through typological elements such as the arrangement of the vase in an opulent Baroque vase. It is also evident in the quality of the composition, which is ornate, very freely executed and with a spontaneous and vigorous brushstroke. As usual in De la Corte's paintings, this canvas features a large composition with a floral motif that covers practically the entire surface. Against a dark background that enhances and brightens the composition, various species of flowers such as tulips, dahlias, daffodils, roses and bluebells, among others, are joined together. The stems and leaves are twisted into arabesque shapes. The artist painted this still life with great detail in his drawing, applying a multicoloured palette with more impastoed brushstrokes in some of the flowers to enhance them, while the less visible ones are barely rendered with a fine glaze. Unlike other genre painters, Gabriel de la Corte's works are characterised by overloaded compositions, freedom of execution and his spontaneous, vigorous brushstrokes laden with paint. His style foreshadowed later developments in the 18th century. A Baroque painter specialising in vases, he was the son of the Madrid painter Lucas de la Corte, although his paternity has been the subject of debate among important scholars such as Antonio Palomino and Cean Bermúdez. De la Corte enjoyed little success during his lifetime, which led him to eke out a meagre living by painting at low prices and even completing the works of other artists by inserting flowers into their works. The present work therefore follows the basic characteristics of Gabriel de la Corte, presenting a pair of paintings of flowers arranged in vases, giving rise to an overloaded composition in which the freedom of execution and the spontaneous and vigorous touch of the brush full of matter prevail. De la Corte's style is influenced by those of Arellano and anticipates the still lifes of flowers that would later be crowded with complicated compositions on elaborate cartouches. Thus we are faced with two mature works by De la Corte, in which the vases are filled with dense and varied bouquets of brightly coloured flowers, executed with dense brushstrokes. With a marked verticality, these are imaginative compositions that prelude the arrival of Rococo, breaking with symmetry and tending towards horror vacui. In them, the flowers still appear full, voluminous, in all their splendour, as would be typical of the Baroque (in the Rococo, on the other hand, the flowers would be preferred half-open, not so full). However, the vases are placed in the strict centre of the painting, contained in elaborate vases, on pedestals finished in rocaille and set against a dark background against which the brightly lit flowers are outlined. However, the arrangement of the flowers has lost the strict rigour and austerity of the naturalist Baroque. From a luminous point of view, De la Corte concentrated the light-coloured flowers in a single point, thus turning the luminous flowers into chromatic highlights that stand out in the composition and attract the viewer's attention. Of particular note is his intuitive technique, based on the execution of wet-painted works, through which the artist seeks - and succeeds - in conveying the impression of a wide range of tonalities. Some important works by De la Corte are housed in the Museo del Prado, among other important institutions.
Setdart Auction House
Sep. 29, 2021
Still life with grapes, peaches, figs, and carnations
Est: €6,000 - €8,000
Gabriel De La Corte is a fascinating painter of the late seventeenth century of whom little or nothing is known. The few contemporary sources that mention his life tell us that he was the son of the Spanish painter Francisco de la Corte, who was, in turn, the brother of Juan de la Corte, one of the few known pupils of Velazquez. According to the sources, Gabriel had no mentor, despite being a child of art, as his father died when he was only twelve years old. This is undoubtedly one of the reasons why we have little information about his activity. He was certainly a painter slightly ‘ahead of his time.’ Unfortunately, the still life genre with flowers and fruit will be very popular with collectors, especially in the eighteenth century. His style is recognisable thanks to the great variety of elements in the scene and his taste for the dark background, which almost swallows up the flowers and fruit in the foreground.
Telearte
May. 12, 2021
18th century Spanish school. Gabriel de la Corte follower
Est: -
Escuela española siglo XVIII. Seguidor de Gabriel de la Corte (Madrid, 1648-1694). Bodegón de flores, óleo sobre lienzo, 56,5x39,5 cm.
Sala de Ventas
Apr. 08, 2021
GABRIEL DE LA CORTE (1648 / 1694) "Basket of flowers"
Est: €42,000 - €56,000
On the back inscribed "J. María Segura Collection" Exhibitions: - "Lights of the Baroque. 17th century painting in Spain", Sala de Cultura Castillo de Maya, Fundación Caja Navarra, Pamplona, 2004. Reproduced in the exhibition catalogue pp. 84 and 85 - "Calm and stillness. El bodegón español del Siglo de oro", Ysbilya, Madrid, October 2017. Reproduced in the exhibition catalogue, pp. 24 and 35.
Ansorena
Dec. 17, 2020
18th century Spanish school
Est: -
Escuela española siglo XVIII. Seguidor de Gabriel de la Corte (Madrid, 1648-1694). Bodegón de flores, óleo sobre lienzo, 56,5x39,5 cm.
Sala de Ventas
Dec. 08, 2011
GABRIEL DE LA CORTE
Est: £20,000 - £30,000
MADRID 1648 - 1694 A PAIR OF STILL LIFES OF FLOWERS IN ELABORATE GILT URNS, EACH ON A STONE PEDESTAL Quantity: 2 a pair, both oil on canvas each: 75.1 by 59.1 cm.; 30 by 23 1/4 in.
Sotheby's
Dec. 03, 2008
Gabriel de la Corte , Madrid 1648 - 1694 Still Lifes of Flowers in Sculpted Vases, flanked by Sculpted Scrollwork with Eagle Heads a pair, both oil on canvas
Est: £60,000 - £80,000
a pair, both oil on canvas Quantity: 2
Sotheby's
Jul. 03, 2007
Gabriel de la Corte
Est: £3,000 - £4,000
oil on canvas
Sotheby's
Jan. 26, 2006
GABRIEL DE LA CORTE MADRID 1648 - 1694
Est: $30,000 - $50,000
PROPERTY FROM THE COLLECTIONS OF THE ZANESVILLE ART CENTER STILL LIFE OF FLOWERS IN A BASKET measurements note 32 5/8 by 41 1/4 in.; 82.8 by 104.8 cm. oil on canvas PROVENANCE With Paul Drey Galleries, New York, (as Gaspard Pieter Verbruggen), from whom purchased by the Zanesville Art Center in 1973. EXHIBITED New York, Finch College Museum of Art, Still Life Painters: Pieter Aertsen, 1508-1575 to Georges Braque, February 1965, cat. no. 86, reproduced (as by Verbruggen). NOTE We are grateful to Dr. William B. Jordan for identifying this painting to be a work by de la Corte, on the basis of photographs. Gabriel de la Corte was the last significant native flower painter of the seventeenth century in Madrid. Very little is known about his life; the biographer Antonio Palomino wrote in 1724 that Gabriel was the son of Francisco de la Corte, a painter of large perspective paintings, however it is more likely that the art historian Ceán Bermúdez was correct when he described Gabriel as the son of Juan de la Corte, the well-known painter of battles and mythological subjects. Ceán wrote that Gabriel was orphaned at the age of twelve; he turned to flower painting as a means of supporting himself. Lacking the necessary connections to the wealthier classes that were served by Juan de Arellano and Bartolomé Pérez, he worked for the local Madrid art trade making flower paintings and garlands for sale in galleries (see W.B. Jordan and P. Cherry, Spanish Still Life from Velazquez to Goya, exhibition catalogue, London 1995, pp.142-144).
Sotheby's
Dec. 09, 2004
GABRIEL DE LA CORTE MADRID 1648 - 1694
Est: £25,000 - £35,000
oil on canvas
Sotheby's
Jan. 22, 2004
* GABRIEL DE LA CORTE MADRID 1648 - 1694
Est: $60,000 - $80,000
STILL LIFE OF FLOWERS IN A WOVEN BASKET
Sotheby's

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GABRIEL DE LA CORTE Madrid 1648 - 1694 Virgin of Bethlehem i

GABRIEL DE LA CORTE (Madrid, 1648 - 1694) "Vase ". Oil on c

Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). Spanish school, XVII century. "Vase". Oil on canvas.

Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). "Allegory of time with a border of flowers". Oil on canvas. Relined. Work reproduced in Peter Cherry, "El bodegón español en el siglo de Oro.

GABRIEL DE LA CORTE (Madrid, 1648 - 1694). "Saint Barbara with a border of flowers". Oil on canvas. Relined. It has Repainting and restorations on the pictorial surface. It has a XVII century frame with damage caused by xylophagous.

Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). Spanish school, XVII century. "Vase". Oil on canvas.

Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). Spanish school, 17th century. "Ascension of the Virgin with a garland of flowers". Oil on canvas. Relined.

Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). Spanish school, 17th century. "Ascension of the Virgin with a garland of flowers". Oil on canvas. Relined.

GABRIEL DE LA CORTE (Madrid, 1648-1694). "Pair of vases". Oil on canvas (x2). Relined. One of the works presents a label on the back of the Delegate Board for the Seizure, Protection and Conservation of the National Artistic Treasure.

Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). Spanish school, 17th century. "Ascension of the Virgin with a garland of flowers". Oil on canvas. Relined.

GABRIEL DE LA CORTE Madrid (1648 / 1694) "Garlands of flowers with masks and brunailles representing Diana and Endymion"

GABRIEL DE LA CORTE (Madrid, 1648 - 1694). "Pair of vases". Oil on canvas (x2). Re-lined

GABRIEL DE LA CORTE - Pair of vases with flowers on an architectural base and a scallop in the background

Gabriel De La Corte (Madrid, 1648 – Madrid, 1694) Natura morta con uva, pesche, fichi e garofani

Gabriel de la Corte, 1648 Madrid – 1694 ebenda, zugeschrieben

GABRIEL OF THE COURT (Madrid, 1648 – 1694). "Jar with flowers". Oil on canvas. Relined. It has repainting and a frame from the 20th century.

Attributed to GABRIEL DE LA CORTE (Madrid, 1648 - 1694). "Vase". Oil on canvas. With label on the back of the Junta de Incautación y Protección del Patrimonio Artístico. Provenance: Former collection of Don José Lázaro Galdiano.

Still life with grapes, peaches, figs, and carnations

18th century Spanish school. Gabriel de la Corte follower

GABRIEL DE LA CORTE (1648 / 1694) "Basket of flowers"

18th century Spanish school

GABRIEL DE LA CORTE

Gabriel de la Corte , Madrid 1648 - 1694 Still Lifes of Flowers in Sculpted Vases, flanked by Sculpted Scrollwork with Eagle Heads a pair, both oil on canvas

Gabriel de la Corte

GABRIEL DE LA CORTE MADRID 1648 - 1694

GABRIEL DE LA CORTE MADRID 1648 - 1694

* GABRIEL DE LA CORTE MADRID 1648 - 1694

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