Early Still Life
1608 Flowers in an Oil on Copper by Bosschaert
2008 SOLD 5.8 MCHF including premium
This small copper 26x18 cm, which Koller sells in Zurich on September 19 is typical of Flemish still lifes from the early seventeenth century. It depicts a bouquet of flowers in a glass, a butterfly, a shell. The composition, well centred, highlights the tulips. The painting is monogramed AB, and includes a trace of date: 160., probably 1608.
Its author, Ambrosius Bosschaert the Elder, is so named today to distinguish him from his son Ambrosius. The latter, and the Elder's two other sons Abraham and Johannes, also painted still lifes, but the best known of the family is perhaps Balthasar van der Ast, brother-in-law and pupil of the elder Ambrosius.
On 10 July 2002, Sotheby's achieved good results on works by these painters. A bouquet in a window, oil on copper of 28 x 23 cm by Ambrosius the Elder and typical of his work, had been sold £ 2.1 million charge included. The same day, an oval oil on copper of 1624 by Balthasar has almost reached 950 K £.
With a composition very similar as the copper to be sold by Koller, another oil on copper, by Ambrosius the Elder, 30 x 20 cm, was sold £ 1.75 million by Sotheby's in London in July 2000. It was on my taste more interesting than the Koller's, because the flowers were more numerous and less dispersed. In both works, the glass is almost identical.
It derives from these figures that the estimate given by Koller, 2.5 MCHF, is ambitious, but the auction house announced that the painting is in exceptional condition, after being kept for 150 years in the same collection.
POST SALE COMMENTS
1
Koller got a good result on these flowers by Bosschaert: 5 MCHF excluding charges, twice the low estimate.
This article will have a following:
A bouquet in a niche by Balthasar van der Ast, 48 x 36 cm, is the lot 16 of the sale of Zürichsee Auktionen in Erlenbach on September 24 (estimated 500 KCHF). As I said in the article above, Balthasar was the brother in law of Ambrosius Bosschaert.
2
Balthasar's painting was not sold.
Its author, Ambrosius Bosschaert the Elder, is so named today to distinguish him from his son Ambrosius. The latter, and the Elder's two other sons Abraham and Johannes, also painted still lifes, but the best known of the family is perhaps Balthasar van der Ast, brother-in-law and pupil of the elder Ambrosius.
On 10 July 2002, Sotheby's achieved good results on works by these painters. A bouquet in a window, oil on copper of 28 x 23 cm by Ambrosius the Elder and typical of his work, had been sold £ 2.1 million charge included. The same day, an oval oil on copper of 1624 by Balthasar has almost reached 950 K £.
With a composition very similar as the copper to be sold by Koller, another oil on copper, by Ambrosius the Elder, 30 x 20 cm, was sold £ 1.75 million by Sotheby's in London in July 2000. It was on my taste more interesting than the Koller's, because the flowers were more numerous and less dispersed. In both works, the glass is almost identical.
It derives from these figures that the estimate given by Koller, 2.5 MCHF, is ambitious, but the auction house announced that the painting is in exceptional condition, after being kept for 150 years in the same collection.
POST SALE COMMENTS
1
Koller got a good result on these flowers by Bosschaert: 5 MCHF excluding charges, twice the low estimate.
This article will have a following:
A bouquet in a niche by Balthasar van der Ast, 48 x 36 cm, is the lot 16 of the sale of Zürichsee Auktionen in Erlenbach on September 24 (estimated 500 KCHF). As I said in the article above, Balthasar was the brother in law of Ambrosius Bosschaert.
2
Balthasar's painting was not sold.
1608 The Blossoms of Four Months
2016 SOLD for £ 3.85M including premium
A precocious artist, Jan Brueghel found patrons in Italy. Back in Antwerp in 1596, he remains in touch with the young cardinal Federico Borromeo recently appointed Archbishop of Milan.
Tastes change. Religious wars brought a political suspicion towards religious themes. In Prague Rudolf II prefers the observation of nature to his political commitments. Hoefnagel draws and paints for that emperor some collections of flowers and animals.
In 1606 Brueghel invents the still life of flowers. The details of his letters provide some view into the process of his first trial that is already a masterpiece. It is quite possible that this new style is executed by the artist from an idea suggested by the cardinal.
This is of course not the first time that a painting shows flowers in a vase, but these artworks previously considered as minor had mainly serve as modelli to be included in more ambitious compositions. Borromeo wishes a representation of blossoms in the whole variety of their shapes and colors for brightening his living throughout the year, so enjoying nature even outside the blooming period.
Very enthusiastic for this project, Brueghel painted the flowers from late spring until late summer within an overall plan that allows him to add them at their rightful place on the panel as and when they hatch. The great variety of brilliant colors meets the expectation of the cardinal. The overcrowding of the flowers in the vase is unrealistic : it is an artistic trick to escape the didactic alignments of Hoefnagel.
The artist produced several paintings in a similar technique in the following years. He gave up soon although not before 1611 their painting by direct observation and these early works will then serve as modelli. The goal remains decorative. Other artists will add the use of flowers and small animals as symbols and the arrangements inside wreaths.
One of the first original flower paintings by Brueghel is estimated £ 3M for sale by Sotheby's in London on July 6, lot 11. This oil on oak panel is dated circa 1608 by experts.
Please watch the video shared by Sotheby's :
Tastes change. Religious wars brought a political suspicion towards religious themes. In Prague Rudolf II prefers the observation of nature to his political commitments. Hoefnagel draws and paints for that emperor some collections of flowers and animals.
In 1606 Brueghel invents the still life of flowers. The details of his letters provide some view into the process of his first trial that is already a masterpiece. It is quite possible that this new style is executed by the artist from an idea suggested by the cardinal.
This is of course not the first time that a painting shows flowers in a vase, but these artworks previously considered as minor had mainly serve as modelli to be included in more ambitious compositions. Borromeo wishes a representation of blossoms in the whole variety of their shapes and colors for brightening his living throughout the year, so enjoying nature even outside the blooming period.
Very enthusiastic for this project, Brueghel painted the flowers from late spring until late summer within an overall plan that allows him to add them at their rightful place on the panel as and when they hatch. The great variety of brilliant colors meets the expectation of the cardinal. The overcrowding of the flowers in the vase is unrealistic : it is an artistic trick to escape the didactic alignments of Hoefnagel.
The artist produced several paintings in a similar technique in the following years. He gave up soon although not before 1611 their painting by direct observation and these early works will then serve as modelli. The goal remains decorative. Other artists will add the use of flowers and small animals as symbols and the arrangements inside wreaths.
One of the first original flower paintings by Brueghel is estimated £ 3M for sale by Sotheby's in London on July 6, lot 11. This oil on oak panel is dated circa 1608 by experts.
Please watch the video shared by Sotheby's :
#AuctionUpdate Outstanding Jan Brueghel the Elder work blossoms in the sale room to record for a still-life at £3.8m pic.twitter.com/QE6mt1AwyG
— Sotheby's (@Sothebys) July 6, 2016
1612 Roelandt Savery at the Court of Rudolf II
2012 SOLD 5.4 MCHF including premium
Roelandt Savery is a Dutch painter born in Kortrijk in Flanders, but it is in Prague with Rudolf II that he develops an art which was new for the time. He activates the animals of the exotic menagerie of the emperor in the themes of the gardens of Paradise, of Noah's Ark and of the charms of Orpheus.
He is also one of the first artists to show still lifes of flowers. According to a design that will be copied many times, he arranges them as a tight bouquet in a vase located in a niche. Small reptiles and insects animate the scene.
Such a bouquet in a small oil on copper, 13.5 x 17 cm, dated 1612, is estimated CHF 2.8 million, for sale by Koller in Zurich on March 30. Here is the link to the catalogue.
This painting had been sold £ 1.76 million including premium by Sotheby's on 12 July 2001.
POST SALE COMMENT
Excellent price for this interesting painting despite its small size: CHF 4.7 million before fees, 5.4 million including premium.
This auction house often gets great results on old painting. In September 2008, a bouquet painted in 1608 by Ambrosius Bosschaert the Elder had been sold for CHF 5.8 million including premium.
He is also one of the first artists to show still lifes of flowers. According to a design that will be copied many times, he arranges them as a tight bouquet in a vase located in a niche. Small reptiles and insects animate the scene.
Such a bouquet in a small oil on copper, 13.5 x 17 cm, dated 1612, is estimated CHF 2.8 million, for sale by Koller in Zurich on March 30. Here is the link to the catalogue.
This painting had been sold £ 1.76 million including premium by Sotheby's on 12 July 2001.
POST SALE COMMENT
Excellent price for this interesting painting despite its small size: CHF 4.7 million before fees, 5.4 million including premium.
This auction house often gets great results on old painting. In September 2008, a bouquet painted in 1608 by Ambrosius Bosschaert the Elder had been sold for CHF 5.8 million including premium.
1620 The Jovial Conspiracies of Isabella Brant
2018 SOLD for $ 5.7M including premium
On April 19 in New York, Christie's sells an oil painting 105 x 76 cm by Rubens on the theme of a satyr holding a basket of grapes and quinces with a nymph at his side, dated around 1620 by the auction house. It is estimated $ 5M, lot 41.
The bearded satyr is in the prime of his life, with two thin horns on his forehead and pointed ears. The nymph is ready to grab a grape in the basket. The two characters do not look at each other but have the same jovial smile.
They are featured in other compositions of the same period. In a lost painting known through copies, the same nymph is naked under a transparent veil. Interestingly they are linked with two group scenes, Bacchanal and Drunken Silenus, both of which are disgusting images intended to make viewers aware of the consequences of debauchery.
The Bacchanal, 95 x 107 cm, is traditionally dated around 1615 and kept at the Pushkin Museum in Moscow. Our satyr is on the left, nude and drunk, supported with difficulty by a naked satyress with legs and hooves of a goat.
The Drunken Silenus is traditionally dated between 1616 and 1617. The surviving version 212 x 214 cm kept at the Alte Pinakothek in Munich is one of Rubens' most famous masterpieces. Around the staggering satyr, all the other characters at the top of the picture are laughing. Another version was destroyed in Berlin in 1945.
In Drunken Silenus the woman just behind the satyr emits a happy look of connivance towards the spectator as if it was she who had abused the weakness of the old male with grape and wine. She had the same role as the central figure in Lot and his daughters painted in 1614 who is busy to drunk her father. It is not a coincidence that the faces of these young women are similar : they are certainly portraits of the ever smiling Isabella Brant, the wife of Rubens.
Please watch the video shared by Christie's.
The bearded satyr is in the prime of his life, with two thin horns on his forehead and pointed ears. The nymph is ready to grab a grape in the basket. The two characters do not look at each other but have the same jovial smile.
They are featured in other compositions of the same period. In a lost painting known through copies, the same nymph is naked under a transparent veil. Interestingly they are linked with two group scenes, Bacchanal and Drunken Silenus, both of which are disgusting images intended to make viewers aware of the consequences of debauchery.
The Bacchanal, 95 x 107 cm, is traditionally dated around 1615 and kept at the Pushkin Museum in Moscow. Our satyr is on the left, nude and drunk, supported with difficulty by a naked satyress with legs and hooves of a goat.
The Drunken Silenus is traditionally dated between 1616 and 1617. The surviving version 212 x 214 cm kept at the Alte Pinakothek in Munich is one of Rubens' most famous masterpieces. Around the staggering satyr, all the other characters at the top of the picture are laughing. Another version was destroyed in Berlin in 1945.
In Drunken Silenus the woman just behind the satyr emits a happy look of connivance towards the spectator as if it was she who had abused the weakness of the old male with grape and wine. She had the same role as the central figure in Lot and his daughters painted in 1614 who is busy to drunk her father. It is not a coincidence that the faces of these young women are similar : they are certainly portraits of the ever smiling Isabella Brant, the wife of Rubens.
Please watch the video shared by Christie's.
1621 Christian Virtues in Bosschaert's Flowers
2012 SOLD 1.7 M€ including premium
PRE SALE DISCUSSION
Ambrosius Bosschaert was a contemporary of Rubens in Antwerp who moved to Holland and developed a theme that was new at that time, the arrangements of flowers in a vase on a table. Helped by several members of his family, he made it a thriving business.
The times were favorable. At the other end of Europe, Rudolf II was assembling his cabinet of curiosities to understand the mysteries of life.
The flowers composing the brilliant art of Bosschaert are always in great variety, in order to gather as many as possible of these symbols of the Christian virtues that oppose the sins. The butterfly is ephemeral and the empty shellis ready for the resurrection.
On September 19, 2008, Koller sold CHF 5.8 million including premium an oil on copper dated 1608, 23 x 18 cm.
An oil on copper of much greater dimensions, 34 x 23 cm, is for sale in Paris by Gros et Delettrez on June 1. The date, difficult to read, is certainly 1621, the year of the premature death of the artist.
Small misses are announced in the catalog. They may explain the estimate, € 600K, which otherwise might seem too low.
POST SALE COMMENT
I had correctly announced that the estimate was too low. This painting was sold € 1.7 million including premium.
Ambrosius Bosschaert was a contemporary of Rubens in Antwerp who moved to Holland and developed a theme that was new at that time, the arrangements of flowers in a vase on a table. Helped by several members of his family, he made it a thriving business.
The times were favorable. At the other end of Europe, Rudolf II was assembling his cabinet of curiosities to understand the mysteries of life.
The flowers composing the brilliant art of Bosschaert are always in great variety, in order to gather as many as possible of these symbols of the Christian virtues that oppose the sins. The butterfly is ephemeral and the empty shellis ready for the resurrection.
On September 19, 2008, Koller sold CHF 5.8 million including premium an oil on copper dated 1608, 23 x 18 cm.
An oil on copper of much greater dimensions, 34 x 23 cm, is for sale in Paris by Gros et Delettrez on June 1. The date, difficult to read, is certainly 1621, the year of the premature death of the artist.
Small misses are announced in the catalog. They may explain the estimate, € 600K, which otherwise might seem too low.
POST SALE COMMENT
I had correctly announced that the estimate was too low. This painting was sold € 1.7 million including premium.
The Beautiful Fruit of Fede Galizia
2018 SOLD for $ 2.1M including premium
The daughter of a miniaturist painter, Fede Galizia makes her entire career in Milan. Her early skill was already recognized at the age of about 12 in 1586. She painted portraits and scenes of devotion with great care to realistic details.
Federico Borromeo becomes archbishop of Milan in 1595. He is one of the greatest helpers in the history of art, for whom Jan Brueghel the Elder creates in 1606 the theme of the still life of flowers. In 1607 he lays the foundation of the Ambrosian Library, inaugurated in 1609, for promoting the humanist values.
The cardinal presents to his new library the Canestra di frutta painted by Caravaggio. This undated painting is a very rare example for its time of a still life without figure, probably designed by the artist as a modello for some details in his vanity scenes.
On July 8, 2015, Sotheby's sold for £ 1.56M including premium a still life of fruit monogrammed FG, 31 x 43 cm oil on panel dated 1607. It is the only known still life that has been dated by Fede Galizia. Four replicas are listed.
The composition is simple and effective, with peaches in a crystal stemmed basket and quinces on the table top. One of the quinces is sliced. Much better than flowers, this theme allows the study of the texture and also of the light that is reflected on the skin of a quince.
The Milanese influence is indisputable but the still lifes by Fede Galizia express her tendency to an extreme realism, unrelated to vanities. It is possible that she chose this unprecedented theme to escape the competition that should occur with male artists on more classical subjects. She opens the way to Clara Peeters and Louyse Moillon. Apart from her clients, she receives little attention and the rest of her work is not datable. She died unmarried in 1630.
On February 1 in New York, Sotheby's sells a pair of oils on panels 27 x 39 cm each, lot 20 estimated $ 2M. The composition is broadly similar to the example above, with on each picture the fruits in a porcelain basket and on a stone ledge. The greater variety of fruit dominated by opulent clusters of grapes and the introduction of a wasp demonstrate that this pair is an evolution from the seminal modello dated 1607.
The high quality of these two paintings suggests that they also were modelli, and they were designed by the artist to stay together : an identical pair on canvas in the same dimension dissociated by Sotheby's on December 12, 1984 was certainly a replica.
Federico Borromeo becomes archbishop of Milan in 1595. He is one of the greatest helpers in the history of art, for whom Jan Brueghel the Elder creates in 1606 the theme of the still life of flowers. In 1607 he lays the foundation of the Ambrosian Library, inaugurated in 1609, for promoting the humanist values.
The cardinal presents to his new library the Canestra di frutta painted by Caravaggio. This undated painting is a very rare example for its time of a still life without figure, probably designed by the artist as a modello for some details in his vanity scenes.
On July 8, 2015, Sotheby's sold for £ 1.56M including premium a still life of fruit monogrammed FG, 31 x 43 cm oil on panel dated 1607. It is the only known still life that has been dated by Fede Galizia. Four replicas are listed.
The composition is simple and effective, with peaches in a crystal stemmed basket and quinces on the table top. One of the quinces is sliced. Much better than flowers, this theme allows the study of the texture and also of the light that is reflected on the skin of a quince.
The Milanese influence is indisputable but the still lifes by Fede Galizia express her tendency to an extreme realism, unrelated to vanities. It is possible that she chose this unprecedented theme to escape the competition that should occur with male artists on more classical subjects. She opens the way to Clara Peeters and Louyse Moillon. Apart from her clients, she receives little attention and the rest of her work is not datable. She died unmarried in 1630.
On February 1 in New York, Sotheby's sells a pair of oils on panels 27 x 39 cm each, lot 20 estimated $ 2M. The composition is broadly similar to the example above, with on each picture the fruits in a porcelain basket and on a stone ledge. The greater variety of fruit dominated by opulent clusters of grapes and the introduction of a wasp demonstrate that this pair is an evolution from the seminal modello dated 1607.
The high quality of these two paintings suggests that they also were modelli, and they were designed by the artist to stay together : an identical pair on canvas in the same dimension dissociated by Sotheby's on December 12, 1984 was certainly a replica.
1629 Fruit Baskets by Louyse Moillon
2016 SOLD for € 1.14M including premium
Louyse Moillon is the daughter of a Calvinist artist who opened a shop on the Pont Neuf in 1616, benefiting from the tolerance provided by the Edict of Nantes. He also bought several lodges from 1617 in the Foire Saint-Germain. The art of Louyse will be influenced altogether by Dutch and Flemish still life and by the Caravaggian light.
Louyse's widowed mother remarries in 1620 with the painter François Garnier. Louyse completes her apprenticeship with François, emphasizing the theme of the fruit basket. Louyse was precociously gifted and it is likely that these two young people who were only ten years old apart have influenced each other.
On 27 June 2013, Sotheby's sold for € 1,03M including premium an oil on panel 51 x 71 cm signed by Louyse Moillon, dated 1629, showing peaches in a basket of china. The artist was not yet 20 years old. The catalog stated that it was her earliest dated work. She was undoubtedly in her own right a pioneer of still life in France.
A basket of quetsches (plums) by Louyse, 40 x 52 cm, of same technique and same date, resurfaced. It is estimated € 450K for sale by Sotheby's in Paris on June 16, lot 24.
Fruits and basket are different but the composition is similar, centered with a geometric rigor. Fruits are accumulated without individuality, which is a notable difference from the still lifes of flowers and enables to concentrate the artistic care onto the texture. The subtle shades of the plums and the velvety surface of the peaches reach a realism that anticipates Chardin by a century.
I do not think that we should attribute this strict style to the Calvinist austerity. On the following year, Louyse tried larger formats where multiple baskets are displayed or accompanied by a young woman. However, by their simplicity and effectiveness, these paintings from 1629 that were more likely her modelli appear as the masterpieces of the artist.
Louyse's widowed mother remarries in 1620 with the painter François Garnier. Louyse completes her apprenticeship with François, emphasizing the theme of the fruit basket. Louyse was precociously gifted and it is likely that these two young people who were only ten years old apart have influenced each other.
On 27 June 2013, Sotheby's sold for € 1,03M including premium an oil on panel 51 x 71 cm signed by Louyse Moillon, dated 1629, showing peaches in a basket of china. The artist was not yet 20 years old. The catalog stated that it was her earliest dated work. She was undoubtedly in her own right a pioneer of still life in France.
A basket of quetsches (plums) by Louyse, 40 x 52 cm, of same technique and same date, resurfaced. It is estimated € 450K for sale by Sotheby's in Paris on June 16, lot 24.
Fruits and basket are different but the composition is similar, centered with a geometric rigor. Fruits are accumulated without individuality, which is a notable difference from the still lifes of flowers and enables to concentrate the artistic care onto the texture. The subtle shades of the plums and the velvety surface of the peaches reach a realism that anticipates Chardin by a century.
I do not think that we should attribute this strict style to the Calvinist austerity. On the following year, Louyse tried larger formats where multiple baskets are displayed or accompanied by a young woman. However, by their simplicity and effectiveness, these paintings from 1629 that were more likely her modelli appear as the masterpieces of the artist.
#AuctionUpdate: Enchère millionnaire à 1.143.000 € pour un chef-d'oeuvre de Louyse Moillon, Panier de quetsches pic.twitter.com/J9sbFkknSA
— Sotheby's France (@SothebysFr) June 16, 2016
1633 Breakfasts by Heda
2015 SOLD for £ 2.95M including premium
Willem Claesz Heda wanted that his paintings closely resemble the real objects. He succeeded in his goal by an extreme care in the textures and a detailed study of the reflections of light.
For four decades, he worked a single theme: the still life of foods and utensils for breakfast on a tablecloth covering almost the entire table. This choice was perhaps inspired by his early training as a painter of vanities. The fruit is ephemeral and the utensil is permanent.
In the 1630s, his composition is rigorous, in a great simplicity which certainly inspired the minimalism of Coorte half a century later. The foods are strictly included within the perimeter lines of the table top. Only the higher part of the utensils and the hanging lemon peel are beyond this zone.
On July 8 in London, Sotheby's sells an oil on panel 59 x 80 cm painted in 1633, lot 12 estimated £ 2M.
This artwork is a good example of Heda's improved realism through a subtle treatment of light. The contrasted areas in the background indicate where daylight comes from. The surrounding that escapes direct vision is however visible in the multiple reflections of a single window, in glasses, silverware and olives but not in pewter.
Subsequent compositions with a crumpled tablecloth and an increased quantity of objects are more complex. The artist desired to demonstrate that his control of geometry could be applied not only to order but also to disorder. An oil on panel 81 x 102 cm painted in 1644 was sold for £ 4.8 million including premium by Christie's on July 8, 2014 over a lower estimate of £ 1.5M.
For four decades, he worked a single theme: the still life of foods and utensils for breakfast on a tablecloth covering almost the entire table. This choice was perhaps inspired by his early training as a painter of vanities. The fruit is ephemeral and the utensil is permanent.
In the 1630s, his composition is rigorous, in a great simplicity which certainly inspired the minimalism of Coorte half a century later. The foods are strictly included within the perimeter lines of the table top. Only the higher part of the utensils and the hanging lemon peel are beyond this zone.
On July 8 in London, Sotheby's sells an oil on panel 59 x 80 cm painted in 1633, lot 12 estimated £ 2M.
This artwork is a good example of Heda's improved realism through a subtle treatment of light. The contrasted areas in the background indicate where daylight comes from. The surrounding that escapes direct vision is however visible in the multiple reflections of a single window, in glasses, silverware and olives but not in pewter.
Subsequent compositions with a crumpled tablecloth and an increased quantity of objects are more complex. The artist desired to demonstrate that his control of geometry could be applied not only to order but also to disorder. An oil on panel 81 x 102 cm painted in 1644 was sold for £ 4.8 million including premium by Christie's on July 8, 2014 over a lower estimate of £ 1.5M.
Still-lifes by Heda are among the greatest achievements of the Dutch C17th. This exquisite example fetches £2.9m pic.twitter.com/ZcjIclHoHb
— Sotheby's (@Sothebys) July 8, 2015
1695 A Butterfly in the Still Life of Adriaen Coorte
2014 SOLD for £ 3.45M including premium
Adriaen Coorte has no biography. Fortunately he signed or monogramed his artworks, and some of them were dated from 1683 to 1705. 64 paintings are identified, and no drawing. Unknown to his contemporaries, he is referred only once, in 1695-1696, in Middelburg when the local league of St Luke fines him for an unauthorized sale.
The still lifes by Coorte have neither predecessor nor successor. Most of them show an arrangement of fruit or asparagus on the corner of a stone ledge. From the mid 1690s, his very unusual practice of oil on paper glued on canvas or panel reinforces the assumption that the author is not a professional artist.
The butterfly appears in the same period. In flight, its wings fully open or closed do not bring realism in the composition, following the lush positioning of small animals in the art of van Kessel.
In contrast to the exuberance of van Kessel, Coorte is a minimalist. The careful texture of the fruit with stems and leaves is the unique theme of the composition, but he likes the vertical formats and the butterfly comes to cleverly break the monotony of the upper part of the picture.
Such a decorative research based on a humble iconography anticipates Chardin's researches while no link can be imagined between the Middelburg amateur and the French artist of the following century.
A paper on panel 31 x 23 cm, undated but realized around 1695, showing three peaches and a butterfly, was sold for £ 2.05M including premium by Bonhams on 7 December 2011. This painting is now estimated £ 2M, for sale by Sotheby's in London on December 3, lot 37. The image is shared by Wikimedia:
The still lifes by Coorte have neither predecessor nor successor. Most of them show an arrangement of fruit or asparagus on the corner of a stone ledge. From the mid 1690s, his very unusual practice of oil on paper glued on canvas or panel reinforces the assumption that the author is not a professional artist.
The butterfly appears in the same period. In flight, its wings fully open or closed do not bring realism in the composition, following the lush positioning of small animals in the art of van Kessel.
In contrast to the exuberance of van Kessel, Coorte is a minimalist. The careful texture of the fruit with stems and leaves is the unique theme of the composition, but he likes the vertical formats and the butterfly comes to cleverly break the monotony of the upper part of the picture.
Such a decorative research based on a humble iconography anticipates Chardin's researches while no link can be imagined between the Middelburg amateur and the French artist of the following century.
A paper on panel 31 x 23 cm, undated but realized around 1695, showing three peaches and a butterfly, was sold for £ 2.05M including premium by Bonhams on 7 December 2011. This painting is now estimated £ 2M, for sale by Sotheby's in London on December 3, lot 37. The image is shared by Wikimedia:
1700 The Daughter of the Botanist
2012 SOLD 1.7 M$ including premium
PRE SALE DISCUSSION
At the time of the cabinets of curiosities, the botanist Frederik Ruysch accumulated a large collection of plants.
Rachel Ruysch, his daughter, had a fine talent as a painter. She began her career very young, which was not unusual at that time. All along her life, in parallel to her duties as wife and mother, she devoted herself to still lifes of flowers with nice and varied colors. Her professional abilities were recognized in 1701 when she was admitted to the painters' guild in The Hague.
Dated 1700, a painting shows an opulent bouquet in a vase on a stone ledge, with a few insects. This work, 110 x 90cm, is of large size for this artist.
Its provenance is prestigious. In 1857 it was sold by Christie and Mason in Alton Towers at the estate sale of the young Earl of Shrewsbury. This auction was one of the most prestigious of its century, with a catalog of 4000 lots. The 700 paintings covered the top names in the history of art. The auction lasted five weeks.
It is now estimated $ 200K, for sale by Butterscotch on February 12 in Bedford Village NY. Here is the link to the catalog on the auction platform LiveAuctioneers.
POST SALE COMMENT
This large format artwork whose provenance is well documented got a great price: $ 1.7 million before fees. This result is also highly remarkable by the fact that it was recorded in an estate sale, far from the excitement of major international auction groups.
At the time of the cabinets of curiosities, the botanist Frederik Ruysch accumulated a large collection of plants.
Rachel Ruysch, his daughter, had a fine talent as a painter. She began her career very young, which was not unusual at that time. All along her life, in parallel to her duties as wife and mother, she devoted herself to still lifes of flowers with nice and varied colors. Her professional abilities were recognized in 1701 when she was admitted to the painters' guild in The Hague.
Dated 1700, a painting shows an opulent bouquet in a vase on a stone ledge, with a few insects. This work, 110 x 90cm, is of large size for this artist.
Its provenance is prestigious. In 1857 it was sold by Christie and Mason in Alton Towers at the estate sale of the young Earl of Shrewsbury. This auction was one of the most prestigious of its century, with a catalog of 4000 lots. The 700 paintings covered the top names in the history of art. The auction lasted five weeks.
It is now estimated $ 200K, for sale by Butterscotch on February 12 in Bedford Village NY. Here is the link to the catalog on the auction platform LiveAuctioneers.
POST SALE COMMENT
This large format artwork whose provenance is well documented got a great price: $ 1.7 million before fees. This result is also highly remarkable by the fact that it was recorded in an estate sale, far from the excitement of major international auction groups.