Adriaen Coorte

(16851720 ) - Artworks
COORTE Adriaen Still Life With A Butterfly, Apricots, Cherries, And Achestnut

Sotheby's /Jan 27, 2011
155,002.71 - 232,504.07
212,326.45

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Artworks in Arcadja
18

Some works of Adriaen Coorte

Extracted between 18 works in the catalog of Arcadja
Adriaen Coorte - Still Life

Adriaen Coorte - Still Life

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Lot number: 34
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Baron Robert Gendebien (1885-1954) ; Thence by decent to the present owners. 34 THE PROPERTY OF A FAMILY Adriaen Coorte MIDDELBURG (?) 1660 (?) - AFTER 1707 STILL LIFE OF AN EARTHENWARE BOWL OF WILD STRAWBERRIES, A BUNDLE OF ASPARAGUS AND SPRIGS OF GOOSEBERRY AND REDCURRANTS, ALL ON A STONE LEDGE WITH A PALE BLUE BUTTERFLY ABOVE signed and dated lower centre: A . Coorte . 1689 . oil on canvas, reduced at the sides and the top 33 by 43.6 cm.; 13 by 17 1/8 in. Estimate 200,000 - 300,000 GBP Print Please notify me when the condition report is available
Adriaen Coorte - Asparagus And Red Currants On A Stone Ledge

Adriaen Coorte - Asparagus And Red Currants On A Stone Ledge

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Lot number: 20
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Lot Description Adriaen Coorte (?Middelburg ?1660-after 1707) Asparagus and red currants on a stone ledge signed 'A, Coorte' (lower left, on the stone ledge) oil on paper, laid down on board 13¼ x 9 3/8 in. (33.6 x 23.9 cm.) In a Dutch seventeenth-century, ebony, cassetta frame (supplied by Wiggins, ref. 12264). Provenance (Probably) by descent in the Thorbecke collection, Leiden, from the early 1700s, and by descent to Mrs. Rassers-Zaalberg, Leiden, by 1954, and by descent to Mr. and Mrs. P.L.J. Rassers-Zwart, Breda, remaining in the family until acquired in 2001 by the following, with Noortman, Maastricht, from whom acquired at The European Fine Art Fair, Maastricht, on 15 March 2001, by Pieter and Olga Dreesmann (inventory no. B11). Pre-Lot Text THE PIETER AND OLGA DREESMANN COLLECTION OF DUTCH OLD MASTER PAINTINGS Three Still-Lifes by Adriaen Coorte The three paintings presented here epitomise the simple yet powerful beauty that makes Adriaen Coorte one of the most original and captivating still-life painters of the seventeenth century. They are exceptional for having remained together, probably since the time they were made, and this will be the first time in their history that they have appeared at auction. Likely from Middelburg in the province of Zeeland, Coorte was active from 1683 to 1707 leaving an oeuvre that today consists of approximately seventy pictures. His early paintings closely adhere to the subject and style of Melchior d'Hondecoeter (1636-1695), suggesting that he trained with the artist in Amsterdam, or The Hague. Determining his biography is a challenge, however, as only one written trace of Coorte survives from a yearbook of the St. Luke's Guild of Middelburg for 1695-1696. This document, which misspells his name 'Coorde', is record of a censure he received for selling paintings without guild membership and has fueled speculation that he may have been a gentleman-painter removed from professional organisations (Small Wonders. Dutch Still Lifes by Adriaen Coorte, exhibition catalogue, Utrecht and Washington, 2003, p. 5). Given the dearth of extant information on the artist, Coorte remained little-known until the twentieth century. Records from the eighteenth century suggest that his paintings sold for extremely small amounts and there is no scholarship on him before the late 1800s. His works were not in collections of major museums until Still-life with asparagus, of 1697, was given to the Rijksmuseum in 1903 (inv. no. SK-A-2099). Over time, however, Coorte joined the ranks of the most celebrated Dutch artists, thanks in large part to the efforts of Laurens J. Bol, former director of the Dordrechts Museum. Bol brought attention to Coorte through the seminal exhibition Adriaen Coorte. Stillevenschilder of 1958, which included all three of the present works. Coorte's still-lifes are highly distinctive. In his simple compositions, natural objects such as fruits, vegetables, flowers, and shells most often sit on a stone ledge set against a dark background. This choice and arrangement harkens back to Haarlem still-life painters Pieter Claesz (circa 1597-1660) and Willem Heda (1594-1680). Coorte may have encountered this Haarlem tradition while training in Amsterdam, or through artists who introduced it to Middelburg such as Karel Slabbaert (Ode to Coorte, exhibition catalogue, The Hague, 2008, p. 27). Also in his hometown, he may have been looking to the finely wrought still-life tradition of Ambrosius Bosschaert the Elder (1573-1621). Despite these influences, Coorte developed an idiom all of his own. His selection of items -- seasonal, rather than exotic fruits and vegetables -- was somewhat unusual: Coorte was the only artist working around 1700 to depict asparagus as a primary subject (Buvelot, The still-lifes of Adriaen Coorte. Oeuvre catalogue, The Hague, 2008, p. 43). Perhaps he consulted the painting manual of Wilhelmus Beurs, published in Amsterdam in 1692, which describes techniques for achieving fine details on asparagus, strawberries, gooseberries, peaches and apricots, all of which recur in his paintings (ibid, pp. 59-61). The three Dreesmann pictures have many key similarities that provide clues as to their creation. Most fundamentally, they were are all painted on paper laid down on canvas, they share a common vertical format and they all use the same distinctive three stepped ledge as a platform for the still-life elements. In the case of the Strawberries and Asparagus, the placement of the two ledges mirror one another so precisely, with the same play of light, that it seems likely that they were conceived as pendants, an idea that is supported by Quentin Buvelot (ibid.). He makes the point that the use of colour in the two pictures provides a harmonious balance -- the reds of the strawberries and redcurrants countering each other in the same way as the white gooseberries and the asparagus. Technical analysis of the paper, carried out in 2007 by Martin Bijl, lends weight to the notion that all three pictures were painted at the same time. In each case, Coorte applied a ground layer to the paper and then covered each with an identical dark paint layer on which he incised lines to ensure the uniformity of the ledge. From this microscopic analysis, Bijl concluded that they were created as a series (ibid., p. 127). Bolstering this hypothesis is the shared early provenance of these paintings. They have been together since the early eighteenth century before succeeding by descent to the Thorbecke Collection, Leiden. Collecting groups of works by Coorte appears to have been a common practice: many owners of Coorte's still-lifes in the Middelburg area had multiple works by the artist and in early sales his paintings were often sold in groups (Washington, exhibition catalogue, op. cit., p. 5). These three paintings perpetuate this trend, having remained together until the present day. Literature L.J. Bol, 'Adriaen S. Coorte. Stillevenschilder', Nederlands Kunsthistorisch Jaarboek, IV, 1952-3, p. 223, no. 55. L.J. Bol, Adriaen Coorte. A Unique Late Seventeenth-Century Dutch Still-Life Painter, Assen and Amsterdam, 1977, p. 15, note 33 and p. 61, no. 78, fig. 40. N. Bakker, I. Bergström, G.M.C. Jansen, S.H. Levie and S. Segal, Masters of Middelburg, Amsterdam, 1984, pp. 214-5, no. 49. S. Melikian, 'Hothouse of Rarities', Art and Auction, May 2001, pp. 38 and 42. P.C. Sutton, Dutch and Flemish Paintings. The Collection of Willem Baron van Dedem, London, 2002, pp. 86-7, fig. 13c. Architectural Digest. Die schönsten Häuser der Welt, 30, February 2002, p. 115, illustrated. H. den Hartog Jager, 'Coorte maakte geschilderde vruchten aaibaar', NRC Handelsblad, 8 April 2003, pp. 1 and 11, illustrated. W. van Zeil, 'Altijd verse bloemen en altijd vers fruit', De Volkskrant, 9 April 2003, p. 11 (commentary on the 2003 Utrecht exhibition of Adriaen Coorte: Meester van de monumentale eenvoud). B. Kruijsen, ed., Asperges in olieverf. Een koninklijke groente in de zeventiende eeuw, exhibition catalogue, Zwolle, 2005, pp. 128-9, no. 20B. F. Barends, 'Henk Helmantel over Adriaen Coorte. Een 'kleine' meester', Collect, Special bij Kunst & Antiek Journaal, November 2007, pp. 74 and 76-9, illustrated. M. Bijl, N. Lingbeek, C. Potasch and P. Noble, 'Technical research', in Adriaen Coorte. The still lifes of Adriaen Coorte, The Hague, 2008, pp. 43, 63-4, 96-8 and 127, no. 26 and fig. 51. B. Stigter, 'De ideale bos asperges', NRC Handelsblad. Cultureel Supplement, 29 February 2008, p. 12-13, illustrated. Q. Buvelot, 'Adriaen Coorte. La poésie du réel', L'Objet d'Art, 435, May 2008, pp. 30-7, illustrated. Q. Buvelot, The still lifes of Adriaen Coorte -- oeuvre catalogue, to accompany the exhibition Ode to Coorte, The Hague, 2008, pp. 43, 64, 96, and 98, no. 26, fig. 51, front cover of the English edition. Exhibited Dordrecht, Dordrechts Museum, Nederlandse stillevens uit vier eeuwen, 17 July-31 August 1954, no. 40. New York, The Metropolitan Museum of Art; Toledo, Toledo Museum of Art; and Toronto, The Art Gallery of Toronto, Dutch Painting. The Golden Age. An Exhibition of Dutch Pictures of the Seventeenth Century, 1954-5, no. 20. Dordrecht, Dordrechts Museum, Adriaen Coorte. Stillevenschilder, 2 August-28 September 1958, no. 21. Amsterdam, Kunsthandel K. & V. Waterman, Masters of Middelburg, 3- 31 March 1984, no. 49. Atlanta, High Museum of Art, Masterpieces of the Dutch Golden Age, 24 September-10 November 1985, no. 20. The Hague, Mauritshuis, The Amateur's Cabinet. Seventeenth-Century Dutch Masterpieces from Dutch Private Collections, 10 October 1995-7 January 1996, no. 7. Utrecht, Centraal Museum der Gemeente Utrecht; and Washington, National Gallery of Art, Small Wonders, Dutch Still Lifes by Adriaen Coorte, 7 March-28 September 2003, no. 17. Cologne, Wallraf-Richartz-Museum; Dordrecht, Dordrechts Museum; and Kassel, Gemäldegalerie Alte Meister, Schloss Wilhelmhöhe, Vom Adel der Malerei. Holland um 1700, 14 October 2006-30 September 2007, no. 11. The Hague, Mauritshuis, Ode to Coorte, 23 February-9 June 2008, no. 26, front cover of the English edition of the exhibition catalogue.
Adriaen Coorte - Three Peaches On A Stone Ledge With A Red Admiral Butterfly

Adriaen Coorte - Three Peaches On A Stone Ledge With A Red Admiral Butterfly

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Lot number: 58
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Adriaen Coorte (active Middleburg, circa 1683-circa 1707) Three peaches on a stone ledge with a Red Admiral butterfly signed with monogram 'AC' (in ligature, on stone ledge, lower centre) oil on paper, laid down on panel 31.3 x 23.3cm (12 5/16 x 9 3/16in). PROVENANCE: In the collection of the present owner's family since at least the late 19th century The present, completely unrecorded painting is an interesting addition to Coorte's oeuvre . It belongs to a group of still lifes, all undated, which are signed with initials only. Compositionally this group is very close to a recently discovered painting, of 1693, which allows a dating of 1693-95 for the present work and the rest of the initialled group (see Q. Buvelot, The still lifes of Adriaen Coorte (The Hague, 2008), cat. nos. 14-17). In all of these works, the table appears narrower than in other paintings and with little or nothing revealed of the base beneath. The table also occupies all or, in this case, almost all of the entire width of the composition. The artist turned to the peach motif several times throughout his career although they appear alone in only three other works. He also used the butterfly in other paintings of this period (see for example Still life with a peach and two apricots on a stone ledge, together with two butterflies of 1692 sold at Sotheby's, Amsterdam, 1 December 2009, lot 55, sold for 1,576,750 Euros). He appears to have used the butterfly as a compositional device to punctuate the background and to create a balance to the fruit. The majority of Coorte's works, as with this picture, are painted directly on to paper and then pasted on to panel (or occasionally canvas). It is not clear at what stage this transfer to another support was made and also whether it was done by the artist himself or at a later date by someone else. This technique was so unusual in the 17th and 18th centuries that it must have been a particular choice of the artist. It has been suggested that it formed part of his working method; that Coorte drew directly on to the paper and then worked in paint on top (which may account for the complete lack of drawings known to be by him). Two instances are known where the artist re-used paper that had previously been written on, for example a Still life of peaches and a butterfly of circa 1693-5, now in a private collection, was discovered to have been painted on a sheet of paper taken from the account book of a merchant trading in Gdansk in the early 17th Century. We are grateful to both Dr. Quentin Buvelot and Fred Meijer of the RKD for kindly confirming the attribution to Coorte, on the basis of a digital photograph.
Adriaen Coorte - Still Life With A Butterfly, Apricots, Cherries, And Achestnut

Adriaen Coorte - Still Life With A Butterfly, Apricots, Cherries, And Achestnut

Original 1685
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Lot number: 144
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LOT 144 ADRIAEN COORTE MIDDELBURG (?) 1660 (?) - AFTER 1707 STILL LIFE WITH A BUTTERFLY, APRICOTS, CHERRIES, AND ACHESTNUT signed and dated lower right: A: Coorte, i685, oil on canvas 200,000—300,000 USD measurements measurements note 16 by 13 3/4 in.; 40.6 by 34.9 Description signed and dated lower right: A: Coorte, i685, oil on canvas PROVENANCE With Van Pappelendam & Schouten, Amsterdam;Their sale, Amsterdam, Frederik Muller & Cie, 11-12 June 1889,lot 207;Anonymous sale, Boston, Skinner, Inc., 17 November 2006, lot 1 (asDutch School, 17th Century Style), to Green;With Richard Green, London, 2007;By whom sold to a private collector. LITERATURE AND REFERENCES L.J. Bol, "Adriaan S. Coorte, stillevenschilder", in NederlandsKunsthistorich Jaarboek 4, 1952-1953, p. 212, no. 2a;L.J. Bol, Adriaen Coorte: A Unique Late Seventeenth Century DutchStill-Life Painter, Assen 1977, p.15, note 30, and p. 45, no.4;S. Melikian, "At the Maastricht fine art fair, dealers laugh theirway to victory", in International Herald Tribune, 9 march2007;Q. Buvelot, The still lifes of Adriaen Coorte (active c.1683-1707):With oeuvre catalogue, The Hague and Zwolle 2008, p. 86, cat. no.6, reproduced in color. CATALOGUE NOTE Though recorded as autograph in Laurens J. Bol's importantstudies of Coorte (see 1952-3 and 1977 literature), the presentpicture was sold in 2006 as by an anonymous Dutch artist. Despitethat confused attribution, it is clear that this work is a fineexample from Coorte's early, and rare, output. Signed and dated1685, it is one of only three known dated pictures from thatyear.1 It relates closley to a work from one year later,Still Life with Berries, Medlars and Grapes (Maida and GeorgeAbrams Collection, Boston), in which Coorte similarly employs amore complex arrangment of hanging fruit, set above a ledge withcherries. After 1688, Coorte's oeuvre consists of much more austereand simple arrangments, comprised of only one or possibly a fewstill-life elements. Despite any differences with what is now recognized to beCoorte's "mature" style, the present work still employs thehallmark motifs so unique to Coorte's output. The picture isarranged in a beautifully simple composition comprised of abutterfly, chestnut, and hanging seasonal fruit, in this case morerarely seen cherries and apricots. A hard, bright and wonderfullyelaborated illumination spreads an unrealistic, almost magicalsheen over his carefully structured still lifes. The edges of thestone table stand out sharply, with a clear-cut joint and minorcracks or damage. The elegantly rendered chestnut and butterfulyare painted in meticulous detail, both set against a dark greenbackground which is again consistent with Coorte's early work. 1. See literature, Buvelot 2008, cat. nos. 5-7.
Adriaen Coorte - Still Life Of Strawberries In An Earthenware Bowl, On A Stone Ledge

Adriaen Coorte - Still Life Of Strawberries In An Earthenware Bowl, On A Stone Ledge

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Lot number: 54
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LOT 54 THIS AND THE FOLLOWING LOT ARE THE PROPERTY OF A DUTCH FAMILY ADRIAEN COORTE MIDDELBURG (?) 1660 (?) - AFTER 1707 STILL LIFE OF STRAWBERRIES IN AN EARTHENWARE BOWL, ON A STONE LEDGE 100,000—150,000 EUR measurements measurements note 26.5 by 20.4 cm. Description signed lower centre: A , Coorte oil on paper laid down on panel PROVENANCE Possibly Daniël Schorer, clerk at the court of Flanders, Middelburg; Possibly his sale, Middelburg, 15 April 1771, either no. 49 or 50: 'A. Coorte. Een fraay Fruytstukje 10½ [x] 8 [duim = 26.2 x 20 cm]' and 'Een dito niet minder als 't voorgaande, zynde een weerga 10½ [x] 8 [duim = 26.2 x 20 cm]'; In the family of the present owner for at least a 100 years. LITERATURE AND REFERENCES Q. Buvelot, 'Toevoegingen aan het oeuvre van Adriaen Coorte (werkzaam c.1683-1707)', in Oud Holland (forthcoming). CATALOGUE NOTE We are grateful to Quentin Buvelot, senior curator at the Mauritshuis, The Hague, for writing the following note: Little is known on Coorte's life, but we do know that he was active in the period 1683-1707. Since his earliest dated paintings were made in 1683, it may be assumed that the artist was born between 1660 and 1665. He worked in the Zeeland town of Middelburg, but seems not to have been a member of the Guild there. For a long time, Coorte's name was known only to a small group of art lovers and collectors. In the eighteenth and nineteenth centuries his name slid into near-oblivion and his work fetched only modest prices at auction. The recent revival in appreciation for Coorte was initiated by Laurens J. Bol (1898-1994), during his term as director of the Dordrechts Museum. Due to his monographic exhibition held in 1958 and the publication in 1977 of his oeuvre catalogue, Coorte's name became widely known. Nowadays, Adriaen Coorte's popularity appears to have been generated in part by the modesty that characterises most of his work, this is not only reflected in his paintings' simple subjects, but also in their generally small size. Certain specific motifs constantly recur in Coorte's restrained, intimate compositions. His characteristic works show us a stone table with one or more kinds of vegetables or fruit, or shells and nuts. These motifs, which are rendered in meticulous detail, are always set against a dark background. A hard, bright and wonderfully elaborated illumination spreads an unrealistic, almost magical sheen over his carefully structured still lifes. The edges of the stone table stand out sharply, frequently with a clear-cut joint and minor cracks or damage. Over 60 signed paintings by him are known today, almost all of which are dated.1 The present and following lot are welcome additions, as they came only to light a few months ago and were completely unknown. However, they can possibly be connected with a sale in 1771 (see Provenance).2 The present lot is signed but undated. However, it is compositionally so similar to that of a recently discovered painting from 1693, Still life with a spray of gooseberries ,3 that it seems justifiable to assign it to this period. Strawberries were one of Coorte's favourite subjects. The strawberries depicted here belong to a wild species, Fragaria vesca . This is rather a misleading name, since this 'wild strawberry' was actually the standard type under cultivation in the painter's day. The painter has depicted the fruit in various ways, a few times in the form of separate fruit, but more frequently in a small earthenware bowl. The 1696 still life with strawberries in an earthenware bowl is the earliest dated example (private collection, now on loan to the Rijksmuseum, Amsterdam), the last dated one being a painting from 1704. A dozen paintings in total depict a small bowl of strawberries, half of which feature it as the primary motif as here (fig. 1). Even the simplest of households had earthenware bowls of this kind, and frequently used them as fruit-bowls.4 One may assume Coorte used the contemporary literature written for painters. In a unique textbook that was published in 1692, the painter Wilhelmus Beurs (1656-after 1700) described at length how to paint certain fruit and vegetables.5 The strawberries painted by Coorte illustrate Beurs's text perfectly. For instance, when describing the right way to depict gooseberries, the author dwells on the characteristic fine hairs and little veins on the fruit, which are difficult to display 'unless someone undertook to paint only a few white gooseberries from close by, out of curiosity'. These words seem to encapsulate precisely what Coorte sought to achieve in his rendering of fruit, in this case strawberries. To convey the different surface structures as convincingly as possible, he frequently depicted his motifs from very close by. He had a special way of rendering the yellow seeds of strawberries, by applying dots of white lead and lead-tin yellow. Beurs writes aptly of 'perfectly ripe strawberries' in which the painter must 'depict the shine on each individual seed'. 1. See Q. Buvelot, The still lifes of Adriaen Coorte (active c.1683-1707) with oeuvre catalogue, exhibition catalogue, Zwolle 2008. 2. See L.J. Bol, Adriaen Coorte: A Unique Late Seventeenth Century Dutch Still-Life Painter, Assen 1977, p. 32; Buvelot, op.cit, p. 120; 3. Buvelot, op.cit., p. 88, cat. no. 12, reproduced. 4. op.cit., pp. 32-42, reproduced. 5. W. Beurs, De groote waereld in 't kleen geschildert , Amsterdam 1692, pp. 130-144, 152-153.
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