Juan de la Corte

Possibly painted for Fray Alonso de Santo Tomas, Bishop of Málaga (1631–92), illegitimate son of King Philip IV, who built Finca El Retiro, Málaga;
Conde de Villalcázar de Sirga, Finca El Retiro, Málaga, by 1794;
Thence by descent until sold Anonymous sale ('The Property of a Nobleman'), London, Christie's, 5 July 1996, lot 83, where acquired by the present owner.

A. Ponz, Viaje de España, vol. XVIII, Madrid 1794, p. 235 (ed. Madrid 1947, p. 1645);
F.J. Sánchez Cantón, 'Victorias de Carlos V. Serie de cuadros de la Embajada de España en Londres', in Boletín de la Real Academia de la Historia, 1944, p. 97;
F.J. Sánchez Cantón, Pinturas y Esculturas de colecciones malagueñas, Madrid 1944, p. 11;
M.S. Soria, 'Velázquez and the Vedute painting in Italy and Spain 1620–1750', in Arte Antica e Moderna, 1961, p. 441;
D. Angulo Iñiguez and A.E. Pérez Sánchez, Pintura Madrileña. Primer Tercio del Siglo XVII, Madrid 1969, pp. 354–55, cat. no. 16 or 18.

The overall condition is good. The canvas is relined, and the paint surface is slightly dirty and the varnish somewhat discoloured. A small degree of frame abrasion at the edges is visible, as are stretcher marks along the left and right edges. Inspection under ultraviolet light reveals retouchings to these stretcher marks, and other localised patches of minor retouching throughout - the biggest concentration of which is in the sky. There is a shallow vertical surface scratch that is retouched, in the upper centre, measuring 60cm in length. There are some very small pinprick losses at the lower right of the canvas. The painting remains in largely good original condition with relatively little intervention for a canvas of this size. Offered in a modern gold frame with some minor losses.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This painting comes from a series of eight scenes of the History of the Trojan War, including The Judgment of Paris and The Abduction of Helen, which formerly hung on the stairway of the palace of Finca El Retiro, Málaga, each measuring over 3 metres wide. They are recorded there in Ponz's account of 1794 (see under Literature). Fray Alonso de Santo Tomas began to construct Finca El Retiro, Málaga in 1669, seven years after the death of Juan de la Corte, but it is just possible that it was he who originally commissioned the canvases from the artist. 

Juan de la Corte is recorded as being in the employ of Philip III in Madrid by 1613, where he remained for the rest of his life. Although his œuvre covers a remarkably wide range of subject matter, from religious subjects, such as the Biblical series in the Buen Retiro Palace, to contemporary scenes, such as the Fiesta en la Plaza Mayor,¹ his aptitude for history and battle scenes and architectural vistas earned him a reputation particularly with the court and the aristocracy, in whose inventories many of his works may be found.

1. Painted to record a fiesta given in honour of the Prince of Wales on the occasion of his marriage to the Infanta Doña María in 1623; Madrid, Museo Municipal (see Iñiguez and Pérez Sánchez 1969, p. 367, cat. no. 110, reproduced plate 289).