Frans (1581) Francken Paintings & Artwork for Sale | Frans (1581) Francken Art Value Price Guide

Apr. 29, 2025
Frans Francken II
Est: €8,000 - €12,000
(Antwerp 1581–1642) Death and the Miser, oil on copper, 23.2 x 18 cm, framed Provenance: Private European collection The present painting relates to other versions of the same subject (see U. Härting, Studien zur Kabinettbildmalerei des Frans Francken II. 1581-1642, Hildesheim, Zurich and New York 1983, p. 186). The signed painting sold at Christie’s, New York, on 27 January 2023 as lot 201 is considered to be the prototype of this composition and is dated to circa 1625. The present work is to be dated later in Francken’s career, in the 1630s, especially due to its monochrome character.
Dorotheum
Apr. 29, 2025
Frans Francken II and Frans Francken III
Est: €30,000 - €40,000
(Antwerp 1581–1642) and (Antwerp 1607–1667) Solomon and the Queen of Sheba, signed lower right: DEN JON FF F, oil on panel, 76 x 107.5 cm, framed Provenance: art market, Rome; where acquired by the father of the present owner The present composition relates to other versions of the same subject and in particular to a signed work by Frans Francken II (see U. Härting, Frans Francken der Jüngere (1581–1642). Die Gemälde mit kritischem Œuvrekatalog, Freren 1989, pp. 245–246, no. 69, illustrated p. 175, fig. 43). A variant of the composition by Frans Francken II is conserved in the Walters Art Museum in Baltimore (inv. no. 37.2746). Usually, Frans Francken II signed his works with DEN ION and not with JON, as is seen in the present painting, JON would be an indication for Frans Francken III. However, the composition and the refined quality of painting in the foreground suggest a collaboration between the two painters. The story of Queen of Sheba’s visit to King Solomon is documented in the First Book of Kings (1 Kings 10:1–13) and the Second Book of Chronicles (2 Chronicles 9:1–12). According to the narrative, the queen, originating from a region identified with present-day Ethiopia, traveled to Jerusalem with the intent of testing Solomon’s wisdom, which was regarded as a divine gift. The present composition is set in an open-air environment and illustrates the encounter between the queen, attired in a floral-patterned gown with a blue corset, adorned with a luxurious necklace of precious stones, and King Solomon. The scene is animated by the presence of her entourage, who observe the exchange with curiosity, while on the right, numerous gifts are displayed, including jewellery, gold artifacts, and refined objects. These elements, symbolising the magnificence of Solomon’s kingdom, serve as an allegory of his divinely granted wisdom. In the background, horses and camels can be discerned, alluding to the queen’s exotic origins and the opulence of her retinue. From a stylistic perspective, the composition is characterised by harmonious colour, balance and tonal lightness, typical of Francken II’s mature works. The detailed rendering of jewels and luxurious fabrics, in particular the attention on the elaborate garments and the varied styles of headwear worn by those present, combined with the meticulous depiction of secondary elements, underscores the artist’s refined technique. Frans Francken II was one of the most prolific and influential painters of the Flemish Baroque period. His oeuvre encompasses a variety of genres, from biblical and allegorical scenes to representations of Wunderkammer or cabinets of curiosities. Born in Antwerp into a family of artists, he trained in his father’s workshop and achieved the title of Master in 1605. His work played a significant role in the advancement of Flemish painting, solidifying the Francken dynasty as one of the most esteemed artistic lineages of the seventeenth century. Frans III, son of Frans Francken II, became a master in the Antwerp Guild of St. Luke in 1639 and a deacon in 1656–7. Known as the ‘Rubens-Francken’ by contemporaries, this nickname is misleading, as Frans III mostly created compositions after his father, lacking any clear influence from Rubens.
Dorotheum
Apr. 24, 2025
CIRCLE/STUDIO OF FRANS FRANCKEN JUNIOR (1581-1642)
Est: £4,000 - £6,000
CIRCLE/STUDIO OF FRANS FRANCKEN JUNIOR (1581-1642) CIRCLE/STUDIO OF FRANS FRANCKEN JUNIOR (1581-1642) Aaron receiving gifts, with figures worshipping the Golden Calf beyond oil on canvas 83 x 158 cm. (32 5/8 x 62 1/2 in.) The Golden Calf refers to the Book of Exodus, where the Israelites created and worshipped a golden idol while Moses was on Mount Sinai receiving the Ten Commandments from God. This event is seen as a profound moment of disobedience and idolatry, as the Israelites, feeling abandoned by Moses and God, asked Aaron (Moses' brother) to make them a god they could worship. While Moses was away for 40 days and nights on Mount Sinai, the people became impatient and feared that Moses might not return. They asked Aaron to make them a visible God to lead them. Aaron then collected gold from the people, melted it down, and fashioned a golden calf. Provenance Private Collection, UK Frans Francken the Younger was born in Antwerp to Elisabeth Mertens and artist Frans Francken the Elder whom he trained with. Following his artistic education with his family he became a master in the Antwerp Guild of Saint Luke in 1605 and was deacon of the Guild in 1616. References Frans Francken II in: Frans Jozef Peter Van den Branden, Geschiedenis der Antwerpsche schilderschool, Antwerpen, 1883, pp. 1615â1619
Chiswick Auctions
Apr. 09, 2025
Suiveur de Frans Francken II (Anvers 1581-1642) Le festin de Balthazar
Est: €3,000 - €5,000
Suiveur de Frans Francken II (Anvers 1581-1642) Le festin de Balthazar huile sur panneau oil on panel, the reverse stamped with the remains of mark of the castle of the City of Antwerp 52.2 x 72.8cm (20 9/16 x 28 11/16in).
Bonhams
Apr. 03, 2025
FRANS FRANCKEN II "The Young" (Antwerp, 1581 - 1642). "The Scorn of Christ". Oil on copper.
Est: €7,000 - €8,000
FRANS FRANCKEN II "The Young" (Antwerp, 1581 - 1642). "The Scorn of Christ". Oil on copper. Measurements: 36 x 28,5 cm. This oil on copper, attributed to Frans Francken the Younger, represents the mockery of Christ, a scene full of drama and religious symbolism. The central composition shows a half-naked Christ, covered only by a red cloak over his shoulder, seated on a platform while surrounded by a group of figures who rebuke and ridicule him. Jesus' serene and resigned expression contrasts with the angry and mocking gestures of the surrounding figures, reinforcing the sense of injustice and suffering. The dark background of the main scene accentuates the sense of confinement and anguish, while the light falls on the body of Christ, highlighting his presence as the central focus of the work. The composition is framed within a larger structure that includes small monochromatic scenes in sepia and gray tones, organized in the margins of the painting. These vignettes represent key episodes of the Passion of Christ, such as the Crucifixion, the Flagellation and the Pieta, reinforcing the visual narrative and connecting the scorn with the final destiny of the Savior. In the upper part, the figure of God the Father is observed, who looks down from the heavens with an expression of solemnity and authority, reinforcing the divine dimension of the events. The technique of painting on copper, characteristic of the Flemish school of the 17th century, allows a great richness of detail and a meticulous treatment of light and texture, distinctive qualities of Frans Francken the Younger and his workshop. Such compositions were common in Flemish art at the time, not only for their pictorial quality, but also for their didactic and devotional function. The work invites meditation on the sacrifice of Christ, emphasizing his physical and moral suffering through the visual language of the early Baroque. The work is inscribed within the Flemish Baroque, moreover, due to its characteristics it is attributed to Frans Francken II. The most fruitful of his family of painters, he trained with his father, Frans Francken I, and in 1605 he joined the Painters Guild of St. Luke in Antwerp, thus beginning a career that would last until 1640, in which he specialized in cabinet painting. His contribution to this genre was of great importance, influencing artists such as Teniers. His style is based on that of Jan Brueghel de Velours, although it also shows strong influences of his father and his uncle, Hieronimus Francken. In his early works, debts to Mannerism and 16th century painting can be appreciated, both in the structure of the compositions and in the rhythm and expression of his figures. They also include evident references to the work of Italian artists such as Raphael, Veronese and Zuccaro. Likewise, the use of prints by Dürer and Lucas de Leyden for some of his figures has been demonstrated. In addition to cabinet painting, Francken painted mythological and biblical themes, some altarpieces and, in collaboration with other artists, painted the figures in landscapes or interior scenes of Tobias Verhaecht, Joos de Momper II, Pieter Neefs or Paul Vredeman de Vries, among others. He is currently represented in the most important art galleries in the world, such as the Prado Museum, the Louvre, the Royal Museum of Fine Arts in Antwerp, the Kunshistorisches Museum in Vienna, the Hermitage in St. Petersburg and the Royal Collection in London, among many others.
Setdart Auction House
Mar. 28, 2025
Anbetung des Jesuskindes durch die Hirten, Niederländischer Meister, Anfang des 17. Jahrhunderts
Est: €3,200 - €6,400
Adoration of the Child Jesus by the Shepherds - Dutch master, early 17th century. Multi-figured scene with a wintry city view in the background. Oil/copper. 35 x 28.5 cm. - Circle of Frans Francken II. (Antwerp 1581-1642 ebd.) /// Anbetung des Jesuskindes durch die Hirten Niederländischer Meister, Anfang des 17. Jahrhunderts Vielfigurige Szenerie mit winterlicher Stadtansicht im Hintergrund. Öl/Kupfer. 35 x 28,5 cm. - Kreis des Frans Francken II. (Antwerpen 1581-1642 ebd.) - Aus fränkischer Privatsammlung.
Kunstauktionshaus Schlosser
Mar. 27, 2025
Frans Francken II, 1581 Antwerpen – 1642 ebenda, zugeschrieben
Est: €4,000 - €6,000
JESUS UND DIE EHEBRECHERIN Öl auf Holz. 28,5 x 20,5 cm. In vergoldetem Prunkrahmen. Die Darstellung ist wohl ein Fragment eines größeren Gemäldes, das wohl ursprünglich einen Blütenkranz enthielt. Die Darstellung, im mit schmalem Goldrand umgebenen Hochoval, geht auf das Johannesevangelium Vers 7,53-8,11 zurück und beschreibt eine Konfrontation zwischen Jesus und den Schriftgelehrten und Pharisäern zu der Frage, ob eine Frau, die soeben beim Ehebruch ertappt wurde, gesteinigt werden muss. In Landschaft der stehende Jesus in rötlichem Gewand mit goldenem Nimbus, der von einem hinter ihm stehenden älteren Schriftgelehrten auf die am Boden kniende Frau hingewiesen wird. Diese blickt Jesus mit leicht erhobenem Kopf, ehrfürchtig und ergeben mit leicht ausgebreiteten erhobenen Armen an und scheint um Vergebung zu bitten. Vor ihr ein kleines Hündchen, das auf ihrem Kleid mit den Vorderbeinen ruht; dieses Hündchen soll die eheliche Treue symbolisieren, die gebrochen wurde. Im Hintergrund rechts, vor einem Baum, eine Vielzahl von Schriftgelehrten und Pharisäern, die auf die Antwort Jesu warten. Außerhalb des Ovals, auf schwarzem Grund, mehrere Blüten, darunter in der linken Ecke weiße Maiglöckchen, die Teil einer ursprünglichen Umrandung mit Blüten waren. In der Holzplatte zwei alt restaurierte horizontale Risse. Provenienz: Aus dem alten Besitz eines niedersächsischen Adelsgeschlechtes. (1431346) (18)
Hampel Fine Art Auctions
Mar. 27, 2025
Jan Brueghel d.J. (1601 – 1676) und Frans Francken d.J. (1581 – 1642)
Est: €25,000 - €30,000
MARIA MIT DEM KINDE UND JOHANNES DER TÄUFER IM BLUMENKRANZ Öl auf Kupferplatte. 51 x 38 cm. In breitem braunen Flammleistenrahmen. Wir danken Frau Dr. Ursula Härting, Hamm, für die Bestätigung der Zuweisung an die genannten Künstler nach Begutachtung des Originals. Beigegeben ist ein Gutachten vom 14. März 2025, in Kopie. Im Zentrum des Gemäldes, in mit schmalen Goldstreifen umrandetem Hochoval, die sitzende Maria in faltenreichem, leuchtend rotem Gewand mit Mantel, in ihrem Schoß, auf einem weißen Tuch, den nackten Christusknaben mit einer Korallenkette um den Hals haltend, der seine linke Hand auf eine kleine Weltenkugel gelegt hat und mit erhobener rechter Hand aus dem Bild auf den Betrachter hinausblickt. Vor ihm links am Boden, halb kniend der kleine Johannes der Täufer mit seinem Attribut einem hochgehaltenen schmalen Kreuzesstab. Maria hat den Blick auf beide hinabgesenkt, während über ihr im himmlischen Bereich die Taube des Heiligen Geistes thront. Die Darstellung ist von einem großen, besonders fein gemalten Blumenkranz in frischer Farbgebung umgeben, teils mit einigen Früchten. Unter den Blumen sind u. a. Tulpen, Rosen, Schneeglöckchen, Schachbrettblumen, Nelken, Kornblumen, Narzissen und Hornveilchen zu finden. Zusätzlich zu erkennen im oberen Bereich rote und weiße Johannisbeeren, sowie in der unteren Mitte einige rote Erdbeeren. Zudem wird die Darstellung zusätzlich aufgelockert durch wenige Insekten, von denen eines am rechten Rand auf einer rosafarbenen Rose, sowie im linken unteren Teil auf einer weißen Rose zu finden ist. Der gezeigte Blumenkranz stammt von der Hand des Jan Brueghel d.J. und die Figuren im Hochoval sind als die Arbeit von Frans Francken d.J. zu sehen. Die Zusammenarbeit von zweien oder mehreren Künstlern, wie im vorliegenden Werk, findet sich häufig in der flämischen Bildtradition des 17. Jahrhunderts wieder. Vereinzelt Retuschen. (1431831) (18) Jan Brueghel the Younger (1601 – 1678) and Frans Francken the Younger (1581 – 1642) THE VIRGIN AND CHRIST CHILD WITH JOHN THE BAPTIST IN A FLORAL WREATH Oil on copper. 51 x 38 cm. We would like to thank Dr. Ursula Härting, Hamm, for confirming the assignment to the above-mentioned artists after examining the original painting. Accompanied by an expert´s report, dated 14 March 2025, in copy. The floral wreath depicted here is by the hand of Jan Brueghel the Younger and the figures in the oval by Frans Francken the Younger. Artists often collaborated in the Flemish pictorial tradition of the 17th century as is the case here.
Hampel Fine Art Auctions
Mar. 26, 2025
Frans Francken. Solon despising riches
Est: -
Oil on copper. Signed with a monogram in the lower left corner. A certificate issued by Don Jose Manuel Arnaiz y Asociados SL is included.
Duran Arte y Subastas
Mar. 18, 2025
Seguidor de Frans Francken II (1581-1642), The taking of Christ with the kiss of Judas
Est: €3,500 - €4,500
Seguidor de Frans Francken II (1581-1642) The taking of Christ with the kiss of Judas Oil on copper 55.5×74 cm
Veritas Art Auctioneers
Feb. 25, 2025
ATTRIBUTED TO FRANS FRANCKEN II Antwerp, Belgium (1581) / (1642) "Abraham kneels before the three angels"
Est: €9,000 - €12,000
Oil on copper. This work represents the episode known as "The Apparition of Mamre", narrated in chapter 18 of Genesis (1-5). In it, Yahweh and two angels (figures later interpreted as a prefiguration of the Trinity) appear to Abraham in the oak grove of Mamre, in human form. The patriarch welcomes these guests into his house and feeds them, and during the meal one of his guests tells him that his wife Sarah will have a son in a year. It is precisely this moment that the painter captures: the angel on the left appears speaking directly to Abraham, and the latter listens attentively, as indicated by the position of his hands, typical of Baroque stage gestures. Measurements: 71 x 88 cm
Ansorena
Feb. 25, 2025
FRANS FRANCKEN II Antwerp, Netherlands (1581) / (1642) "Christ and the adulterous woman"
Est: €12,000 - €16,000
Oil on panel. With signature in the basket on the lower right side Measurements: 45 x 59 cm
Ansorena
Feb. 22, 2025
Antwerp School (c. 1600) Francken, Frans II (Antwerp 1581 - 1642) Circle,
Est: -
Antwerp School (c. 1600) Francken, Frans II (Antwerp 1581 - 1642) Circle, "Assumption of Mary", Oil on copper, 28.7 x 22 cm Antwerpener Schule (um 1600) Francken, Frans II. (Antwerpen 1581 - 1642) Umkreis, "Himmelfahrt Mariens", Öl auf Kupfer, 28.7 x 22 cm
Auktionshaus Plückbaum
Feb. 22, 2025
Francken, Frans II (Antwerp 1581 - 1642 ibid., Flemish Baroque painter and draughtsman, Dean of the Guild of St Luke, his oeuvre includes allegories, cabinet paintings, history paintings, genre paintings, still lifes, Kunstkammer paintings, altarpie
Est: -
Francken, Frans II (Antwerp 1581 - 1642 ibid., Flemish Baroque painter and draughtsman, Dean of the Guild of St Luke, his oeuvre includes allegories, cabinet paintings, history paintings, genre paintings, still lifes, Kunstkammer paintings, altarpieces and picture galleries), "Salomons Götzendienst", oil on panel, 65 x 49 cm, old restoration. Provenance: Private collection Rhineland; Dorotheum, Vienna, 11 December 2008, lot 42; West German private collection, Lempertz, Cologne, 17 November 2018, lot 1531; Rhenish private collection; The painting is listed as an autograph work by Frans Francken the Younger in the RKD database under the number 191395 Francken, Frans II. (Antwerpen 1581 - 1642 ebenda, flämischer Maler und Zeichner des Barocks, Dekan der Lukasgilde, sein Œuvre umfasst Allegorien, Kabinettbilder, Historienmalerei, Genredarstellungen, Stillleben, Kunstkammerbilder, Altarbilder und Bildergalerien), "Salomons Götzendienst", Öl auf Holz, 65 x 49 cm, altrestauriert. Provenienz: Privatsammlung Rheinland; Dorotheum, Wien, 11.12.2008, Lot 42; Westdeutsche Privatsammlung, Lempertz, Köln, 17.11.2018, Lot 1531; Rheinische Privatsammlung; Das Gemälde ist als eigenhändiges Werk von Frans Francken d. J. in der Datenbank des RKD unter der Nummer 191395 gelistet
Auktionshaus Plückbaum
Feb. 11, 2025
FRANS FRANCKEN THE YOUNGER (FLEMISH 1581-1642), THE TRIUMPH OF NEPTUNE AND AMPHITRITE
Est: £40,000 - £60,000
FRANS FRANCKEN THE YOUNGER (FLEMISH 1581-1642)THE TRIUMPH OF NEPTUNE AND AMPHITRITEOil on panel63.5 x 89.5cm (25 x 35 in.)In a carved and gilt wood frameProvenance: The Dukes of Croÿ, Brussels, probably since the 17th century and thence by family descent toKarl Rudolf, Duke of Croÿ (1859-1906), who married in 1888, Marie-Ludmilla Princess and Duchess of Arenberg (1870-1953), Chateâu de L'Hermitage, Condé sur L'Escaut, France, until the First World War, and thereafter at Chateâu 'La Solitude', BrusselsThence by descentSale, Sotheby's, London, Old Master Paintings, 7 July 2005, lot 1, where acquired by the present ownerBeneath a tempestuous sky bathed in a silvery glow, sea creatures, mermaids, river gods, and tritons parade to celebrate the union of Neptune and Amphitrite. Amphitrite, a nereid and daughter of Nereus, initially rejected Neptune's marriage proposal and sought to avoid him, finding refuge in the farthest reaches of the ocean. However, Neptune sent dolphins to find her, convincing her to accept his proposal-a mission later honoured with the creation of the star constellation Delphinus. Born in Antwerp in 1581, Frans Francken was a Flemish painter who achieved significant success during his lifetime. The son of the renowned artist Frans Francken the Elder, he began his training in his father's workshop before becoming a master in the Antwerp Guild of Saint Luke. Francken's versatile talent allowed him to work in various genres, from religious themes to mythological subjects, inspiring artists such as Jan Bruegel the Elder and Peter Paul Rubens.The triumph of Neptune and Amphitrite was a subject treated by the artist frequently, with different variations of the composition; for which see U. Härting, Frans Francken der Jüngere, 1989, pp. 310-11, cat. nos. 279-95. The closer example is a smaller panel sold at Christie's, London, 28 November 1975, lot 34, in which the right-hand side of the composition and the distant landscape differ. In other renditions, Francken usually depicted a gathering of gods on the distant shore, but here, this is replaced by Neptune's entourage in the background.This painting's provenance is notable, likely remaining uninterrupted until its auction at Sotheby's. The Croÿ family, a prominent force in the Southern Netherlands, Burgundy, and France in the 17th century, held high positions under Spanish rule. Their patronage of the arts was equally influential. In the 15th century, they amassed an extraordinary collection of manuscripts, later acquired by Margaret of Austria. Charles III de Croÿ, Duke of Croÿ and Prince of Chimay, built a vast collection of paintings, jewels, and manuscripts, including eleven works attributed to Veronese. The family also had ties to the Arenberg family, renowned art patrons and collectors in the 18th and 19th centuries.
Dreweatts 1759 Fine Sales
Feb. 06, 2025
Palace Interior with an Allegory of the Five Senses
Est: $60,000 - $80,000
Property from a Connecticut Collection (Lots 431-434) Frans Francken the Younger and Hendrik van Steenwijck the Younger Antwerp 1581 - 1642 and Antwerp 1580 - circa 1640 Leiden Palace Interior with an Allegory of the Five Senses oil on panel panel: 21 by 28 ¾ in.; 53.34 by 73 cm framed: 31 ¾ by 39 ¼ in.; 80.6 by 101 cm
Sotheby's
Feb. 05, 2025
ESCUELA FLAMENCA, S. XVII - Las siete obras de Misericordia
Est: €4,000 - €4,200
Siguiendo modelos de obra original realizada por Frans Francken II (Amberes, 1581 - 1642). Desperfectos.
Isbilya Subastas
Feb. 02, 2025
Frans Francken le jeune (1581-1642), atelier de. Le Christ livré à ses juges.
Est: €1,500 - €2,000
Frans Francken le jeune (1581-1642), atelier de. Le Christ livré à ses juges. Huile sur cuivre. Dim. 35,5x28,5 cm
Prunier
Jan. 30, 2025
Frans Francken II:: Geißelung Christi
Est: €800 - €1,000
FRANCKEN II., FRANS Antwerpen 1581 - 1642 Nachfolge Titel: Geißelung Christi. Technik: Öl auf Kupfer. Maße: 48 x 37cm. Rahmen: Rahmen. Provenienz: Privatbesitz, Deutschland. Estimated shipping costs for this lot: Germany: 52,94 Euro plus 10,06 Euro VAT EU: 79,83 Euro plus 15,17 Euro VAT Worldwide: 138,66 Euro plus 26,34 Euro VAT additional shipping insurance Explanations to the Catalogue Frans II. Francken Flanders Flemish School 17th C. Old Masters Framed Passion of Christ Painting
Van Ham Kunstauktionen
Jan. 23, 2025
Attributed to FRANS FRANCKEN II (Antwerp 1581 - 1642) - The Wedding at Cana
Est: €15,000 - €20,000
Oil on board. Dimensions: 92 x 172 cm. Hemmed, with repainting and restoration.
Templum Fine Art Auctions
Jan. 22, 2025
FRANS FRANCKEN II Antwerp, Netherlands (1581 / 1642) "The Seven Works of Mercy", c. 1606-1616
Est: €45,000 - €60,000
Oil on panel. With an old Dutch frame in ebonized wood with curly mouldings and a central band with floral decoration. Dimensions: 60 x 80 cm.
Ansorena
Jan. 22, 2025
Attributed to FRANS FRANCKEN II (Antwerp, 1581 - 1642). "Adoration of the Kings". Oil on copper.
Est: €1,200 - €1,500
Attributed to FRANS FRANCKEN II (Antwerp, 1581 - 1642). "Adoration of the Kings". Oil on copper. Measurements: 17 x 13,5 cm, 31 x 28 cm (frame). The most fruitful of the Francken family, Frans II, or the Younger, learned with his father, Frans Francken the Elder, whose style he cultivated at first. In 1605 he joined the Painters' Guild of St. Luke in Antwerp, thus beginning a career that would last until 1640, in which he specialized in cabinet painting. His contribution to this genre was of great importance, influencing artists such as Teniers. His style is based on that of Jan Brueghel de Velours, although it also shows strong influences of his father and his uncle, Hieronimus Francken. In his early works, debts to Mannerism and 16th century painting can be appreciated, both in the structure of the compositions and in the rhythm and expression of his figures. They also include evident references to the work of Italian artists such as Raphael, Veronese and Zuccaro. Likewise, the use of prints by Dürer and Lucas of Leyden for some of his figures has been demonstrated. The extensive production of Frans Francken the Younger can be divided into four stages. His early works denote his initial connection with the themes and styles of the sixteenth century, with high points of view and a clear lack of spatial cohesion. He also uses local colors, especially browns, blues and greens. Characteristic are his figures with large black eyes, achieved through touches of charcoal black, which will continue throughout his career. In a second stage, from 1610 onwards, his palette will become clearer, while he begins to be clearly recognizable for his subjects and interpretations. This is the time of the inclusion of figures, especially stereotyped women that will be repeated throughout his work. In a third period, from 1620, his typical male figures wearing a turban or Phrygian cap begin to appear, while his compositions denote a profoundly eclectic character. The general luminosity now reaches its zenith, determining the chromatic scheme of the work and following in part the general harmonization typical of the Flemish school. In the last phase of his production, from 1630 onwards, Francken evolves towards compositions where local color gives way to general tonalities, often browns, following both the style of Rubens and that of the contemporary Dutch school. In addition to cabinet painting, Francken painted mythological and biblical themes, some altarpieces and, in collaboration with other artists, painted the figures in landscapes or interior scenes of Tobias Verhaecht, Joost de Momper II, Pieter Neefs or Paul Vredeman de Vries, among others.
Setdart Auction House
Jan. 22, 2025
Attributed to FRANS FRANCKEN II (Antwerp, 1581 - 1642). "Adoration of the angels". Oil on copper.
Est: €1,200 - €1,500
Attributed to FRANS FRANCKEN II (Antwerp, 1581 - 1642). "Adoration of the angels". Oil on copper. Measurements: 17 x 13,5 cm, 31 x 28 cm (frame). The most fruitful of the Francken family, Frans II, or the Younger, learned with his father, Frans Francken the Elder, whose style he cultivated at first. In 1605 he joined the Painters' Guild of St. Luke in Antwerp, thus beginning a career that would last until 1640, in which he specialized in cabinet painting. His contribution to this genre was of great importance, influencing artists such as Teniers. His style is based on that of Jan Brueghel de Velours, although it also shows strong influences of his father and his uncle, Hieronimus Francken. In his early works, debts to Mannerism and 16th century painting can be seen, both in the structure of the compositions and in the rhythm and expression of his figures. They also include evident references to the work of Italian artists such as Raphael, Veronese and Zuccaro. Likewise, the use of prints by Dürer and Lucas of Leyden for some of his figures has been demonstrated. The extensive production of Frans Francken the Younger can be divided into four stages. His early works denote his initial connection with the themes and styles of the sixteenth century, with high points of view and a clear lack of spatial cohesion. He also uses local colors, especially browns, blues and greens. Characteristic are his figures with large black eyes, achieved through touches of charcoal black, which will continue throughout his career. In a second stage, from 1610 onwards, his palette will become clearer, while he begins to be clearly recognizable for his subjects and interpretations. This is the time of the inclusion of figures, especially stereotyped women that will be repeated throughout his work. In a third period, from 1620, his typical male figures wearing a turban or Phrygian cap begin to appear, while his compositions denote a profoundly eclectic character. The general luminosity now reaches its zenith, determining the chromatic scheme of the work and following in part the general harmonization typical of the Flemish school. In the last phase of his production, from 1630 onwards, Francken evolves towards compositions where local color gives way to general tonalities, often browns, following both the style of Rubens and that of the contemporary Dutch school. In addition to cabinet painting, Francken depicted mythological and biblical themes, some altarpieces and, in collaboration with other artists, painted the figures in landscapes or interior scenes of Tobias Verhaecht, Joost de Momper II, Pieter Neefs or Paul Vredeman de Vries, among others.
Setdart Auction House
Dec. 17, 2024
Attri. Frans Francken II (1581 - 1642)
Est: $50,000 - $100,000
Attributed Frans Francken II (The Younger) (1581 - 1642) Oil on Canvas. Comes with a scanned copy of a letter given to the original buyer back in 1956 which attributes the painting. The painting was sold to William Pahlmann by Essex Arts (New York) in 1955, described as 'La Commedia Del Arte' attributed to Franz Franken the Younger. Pahlmann sold it to Gene Genola the following year and it remained in his possession until the current owner acquired the painting by descent. Sight Size: 33.5 x 49.5 in. Overall Framed Size: 37.5 x 54 in.
Helmuth Stone
Dec. 10, 2024
Huile sur cuivre "La Rencontre de David et Abigail…
Est: €800 - €1,200
Huile sur cuivre "La Rencontre de David et Abigail". Entourage de Frans Francken II. Travail flamand. Epoque: XVIIème. Dim.:+/-16,5x21,5cm.
Vanderkindere
Dec. 05, 2024
Frans Francken d. J., 1581 Antwerpen – 1642, zugeschrieben
Est: €6,000 - €8,000
DIE HOCHZEIT ZU KANA Öl auf Holz. 40 x 54,5 cm. In dekorativem Rahmen. Im Mittelpunkt dieser figurenreichen Darstellung in einem Saal steht Christus mit Nimbus in einem weinroten Gewand mit karminrotem Umhang. Er und seine Mutter sowie einige seiner Jünger waren laut Bibel zu dieser Hochzeit geladen, als der Wein sich zu Ende neigte. Um zu helfen beauftragte Christus einige Diener Wasser zu schöpfen und diese Krüge ins Haus zu bringen. Auf der linken Seite des Gemäldes sieht man Diener bei der Arbeit am Brunnen. Gezeigt wird mittig der Moment, in dem Jesus seine rechte Hand erhoben hat und das Wasser in Wein verwandelt. An zwei über Eck aneinanderstehenden Tischen sitzt die bunt gemischte Hochzeitsgesellschaft mit dem Brautpaar in teils prachtvoller Kleidung. Drei weitere Personen auf der rechten Seite des Tisches fallen besonders auf: ein Gelehrter in Rückenansicht mit goldbesticktem Mantel und weißem Kragen, sowie eine junge blonde Frau in leuchtend rotem Kleid. Neben ihr sitzt mit weitem Umhang und breitem Pelzkragen sowie großer roter Kopfbedeckung ein älterer Mann mit feinster Physiognomie des Gesichtes, sodass es sich um ein Selbstportrait des Malers handeln könnte. Auffällig ist auch das Gemälde in der oberen Mitte des Raumes, das auf einem stufigen Podest mit Speisen steht. Es zeigt den Sündenfall von Adam und Eva und könnte als Warnung und Ermahnung für das Brautpaar dienen. Meisterhaftes farbenprächtiges Werk voll reicher Details und symbolischen Deutungen in qualitätvoller Manier. Anmerkung: Ein fast identisches Werk befindet sich im Stadtmuseum Simeonstift in Trier. (1421758) (18)
Hampel Fine Art Auctions
Nov. 30, 2024
Francken, Frans
Est: -
Francken, Frans 1581 Antwerpen - 1642 Antwerpen (zugeschrieben) Beweinung Christi. Öl/Holz, 36,5 x 49,5 cm.
Dusseldorfer Auktionshaus
Nov. 30, 2024
Francken Frans II.
Est: CHF16,000 - CHF20,000
Der geigende Tod Verso beschriftet. Der geigende Tod als Symbol der Vanitas gibt ein beliebtes Thema der holländischen Kunst im 17. Jahrhundert wieder. Das Bild mit seiner bemerkenswerten Grösse, dieses Sujet wurde meist kleiner dargestellt, wurde von Frau Dr. Ursula Härting im Original begutachtet und als authentisches Spätwerk von Frans Franken II identifiziert. Dr. Härting erklärt die dargestellte Szene: «Der skelettierte Tod spielt dem Reichen zum letzten Tanz auf. Der jedoch verweist auf seinen wohl gichtigen Fuss, der ihn daran hindern würde.» Im Durchblick in den hinteren Raum sieht man den faustischen Pakt mit dem Tod: «Er wird ihm hohes Alter und Reichtum versprechen. Letzterer würde dem Tod dann mit dem Ende des Alten zufallen. Nun ist dessen Zeit abgelaufen. Doch er verweigert sich dem Tod.» «Es ist eine amüsante Pointe, die wieder einmal für Franckens Erfindungsgeist steht.» Wir danken Frau Dr. Ursula Härting, dass sie sich die Zeit genommen hat, dieses äusserst spannende Werk, welches seit 50 Jahren nicht mehr auf dem Markt gewesen ist, zu begutachten. "Ein Berner Haushalt" - Sammlung Haldi Gerahmt Ausrufdatum: 30.11.2024 Ungefähre Ausrufzeit: 18:56
Auktionshaus Zofingen
Nov. 30, 2024
Francken Frans II.
Est: CHF40,000 - CHF50,000
Atelier Frans Francken II mit Details vom Meister selbst Der Kunstsammler Frans Francken II gilt als der Vater der gemalten Galeriedarstellungen. Vermutlich entstand das Bild aus der Hand eines bislang anonymen Ateliermitarbeiters mit Details vom Meister selbst, im ersten oder frühen zweiten Jahrzehnt des 17. Jahrhunderts. Gemalte Sammlungskabinette im kleinen Format sind höchst selten erhalten. Dass hier erstmalig in einem Interieur aus seinem Atelier zwei, vielleicht drei ideale Gelehrtenportraits gezeigt werden und identifiziert werden konnten, ist die innerbildliche Rarität dieses Gemäldes. So ist der am Globus sitzende Herr der Antwerpener Kartograph und Geograph Abraham Ortelius (1527 – 1598). Neben ihm erkennt man, auf eine Schnecke weisend, den in Antwerpen geborenen Kabinett-Miniaturisten Joris Hoefnagel (1542-1601). Beide sind bis heute berühmte Maler, die dem Wissen und dem Verstand verpflichtet sind, im Gegensatz zu den unwissenden „Eseln“, den ânes iconoclastes“, welche man im Durchblick rechts sieht. Diese geistreiche Invention von Frans Francken II. vom Anfang des 17. Jahrhunderts wurde zu seinem typischen Markenzeichen. An der rückwärtigen Wand in dieser gemalten Guckkastenbühne sieht man verschiedene Gemälde. Möglicherweise handelt es sich bei einem porträtierten Herrn um Conrad Gessner (1516-1565), der erstmals 1561 eine aus dem Orient eingeführte Tulpe publiziert und illustriert hatte. Dr. Ursula Härting stellt diese These der Zuweisung aufgrund der Tulpe aus dem Bouquet, welche auf ihn weist, her. Könnte die These einer Identifizierung mit Gessner akzeptiert werden, bildet dieses aussergewöhnliche Interieur drei Koryphäen des 16. Jahrhunderts ab, die für die damalige Forschung und Wissenschaft überaus bekannt waren. "Ein Berner Haushalt" - Sammlung Haldi; Sammlung Bachofen, Basel. Gerahmt Ausrufdatum: 30.11.2024 Ungefähre Ausrufzeit: 18:55
Auktionshaus Zofingen
Nov. 26, 2024
Frans FRANCKEN II
Est: €30,000 - €40,000
Frans FRANCKEN II (Anvers, 1581 - 1642) Saint Paul sur le chemin de Damas Huile sur panneau de chêne, parqueté Signé 'D o. ffranck IN (...)' en bas à gauche (Restaurations anciennes) Saint Paul on the Way to Damascus, oil on oak panel, signed, by F. Francken II 19.09 x 25.19 in. 48.5 x 64.0 cm Ce remarquable panneau de Frans Francken nous parvient dans un état de conservation absolument exceptionnel. Il représente un évènement majeur de l’histoire chrétienne, au cours duquel l’Eglise perd un de ses persécuteurs pour gagner un de ses principaux piliers. Pour son tableau, le peintre fait le choix de diviser la scène en deux plans : l’un céleste et l’autre terrestre. Du premier, le Christ fend les nuages et déploie un halo lumineux qui sépare la troupe en deux groupes bien distincts. Cette solution paraît d’une grande efficacité expressive. Elle renforce l’effet visuel dont bénéficie cet imposant cheval au premier plan, dont la remarquable qualité d’exécution est à mettre en relation avec un autre cheval, celui de La défaite de Sennacherib, peint par Pierre-Paul Rubens et conservé à l’Alte Pinakothek de Munich ( Inv. 326). Frans Francken le Jeune est un artiste majeur de la place d’Anvers dans la première moitié du XVIIe siècle. Membre le plus connu de la dynastie du même nom, il est l’auteur de très nombreuses compositions historiques et religieuses. Son atelier compte parmi les plus importants de la ville flamande et sa production se vend dans toute les cours d’Europe. Si on compte plusieurs tableaux représentant la conversion de saint Paul réalisées par l’artiste, comme celle-ci vendue en 20081, la nôtre se démarque par un dynamisme spectaculaire. 1 – Vente de la collection d'un amateur provenant d'un hôtel particulier de la Rive Gauche ; Paris, Christie’s, 2 juillet 2008, n° 356A Frans FRANCKEN II (Anvers, 1581 - 1642) 48.5 x 64.0 cm Ce remarquable panneau de Frans Francken nous parvient dans un état de conservation absolument exceptionnel. Il représente un évènement majeur de l’histoire chrétienne, au cours duquel l’Eglise perd un de ses persécuteurs pour gagner un de ses principaux piliers. Pour son tableau, le peintre fait le choix de diviser la scène en deux plans : l’un céleste et l’autre terrestre. Du premier, le Christ fend les nuages et déploie un halo lumineux qui sépare la troupe en deux groupes bien distincts. Cette solution paraît d’une grande efficacité expressive. Elle renforce l’effet visuel dont bénéficie cet imposant cheval au premier plan, dont la remarquable qualité d’exécution est à mettre en relation avec un autre cheval, celui de La défaite de Sennacherib, peint par Pierre-Paul Rubens et conservé à l’Alte Pinakothek de Munich ( Inv. 326). Frans Francken le Jeune est un artiste majeur de la place d’Anvers dans la première moitié du XVIIe siècle. Membre le plus connu de la dynastie du même nom, il est l’auteur de très nombreuses compositions historiques et religieuses. Son atelier compte parmi les plus importants de la ville flamande et sa production se vend dans toute les cours d’Europe. Si on compte plusieurs tableaux représentant la conversion de saint Paul réalisées par l’artiste, comme celle-ci vendue en 20081, la nôtre se démarque par un dynamisme spectaculaire. 1 – Vente de la collection d'un amateur provenant d'un hôtel particulier de la Rive Gauche ; Paris, Christie’s, 2 juillet 2008, n° 356A
Artcurial
Nov. 25, 2024
Circle of FRANS FRANCKEN II (Antwerp, Belgium, 1581 - 1642), 17th century. "The preaching of St. John the Baptist". Oil on panel. Cradled. Frame of the twentieth century. It presents faults and restorations.
Est: €1,800 - €2,000
Circle of FRANS FRANCKEN II (Antwerp, Belgium, 1581 - 1642), 17th century. "The preaching of St. John the Baptist". Oil on panel. Cradled. Frame of the twentieth century. It presents faults and restorations. Measurements: 59 x 80 cm; 82 x 100 x 7 cm (frame). Elevated on a promontory formed by the own vegetation, San Juan Bautista preaches before a varied public, that includes people of different social extraction, from the humblest people to soldiers and Roman patricians. They are located in a forest clearing and in the distance the houses of Judea can be seen. It is a type of composition rich in narrative and folkloric details that remind us of the paintings that Frans Francken dedicated to the same subject. The lush vegetation expresses its greenery with a palette rich in tonal shades that contrast with the touches of red, white and ocher that predominate in the costumes. This is a 17th century painting that draws from the contemporary teachings of Frans Francken and the Flemish school. The most fruitful of his family of painters, he trained with his father, Frans Francken I, and in 1605 he joined the Painters Guild of St. Luke in Antwerp, thus beginning a career that would last until 1640, in which he specialized in cabinet painting. His contribution to this genre was of great importance, influencing artists such as Teniers. His style is based on that of Jan Brueghel de Velours, although it also shows strong influences of his father and his uncle, Hieronimus Francken. In his early works, debts to Mannerism and 16th century painting can be seen, both in the structure of the compositions and in the rhythm and expression of his figures. They also include evident references to the work of Italian artists such as Raphael, Veronese and Zuccaro. Likewise, the use of prints by Dürer and Lucas de Leyden for some of his figures has been demonstrated. In addition to cabinet painting, Francken painted mythological and biblical themes, some altarpieces and, in collaboration with other artists, painted the figures in landscapes or interior scenes of Tobias Verhaecht, Joos de Momper II, Pieter Neefs or Paul Vredeman de Vries, among others. He is currently represented in the most important art galleries in the world, such as the Prado Museum, the Louvre, the Royal Museum of Fine Arts in Antwerp, the Kunshistorisches Museum in Vienna, the Hermitage in St. Petersburg and the Royal Collection in London, among many others.
Setdart Auction House
Nov. 22, 2024
Francken, Frans II. (Attrib.) od. Cornelis de Baiilleur: Christus fällt unter dem Kreuz - April 2024
Est: €5,000 - €10,000
Francken, Frans II (Attribution) or Cornelis de Baiilleur - Christ falling under the cross (Antwerp 1581-1642 ibid. / Antwerp 1607-1671 ibid.) Oil/copper, covered with wooden plate. 35,5 x 50 cm. - Lit. Thieme/Becker 12 - Didier Bodart expert opinion available. // Francken, Frans II. (Attrib.) od. Cornelis de Baiilleur Christus fällt unter dem Kreuz (Antwerpen 1581-1642 ebd. / Antwerpen 1607-1671 ebd.) Öl/Kupfer, mit Holzplatte abgedeckt. 35,5 x 50 cm. - Lit. Thieme/Becker 12. - Gutachten Didier Bodart vorhanden.
Kunstauktionshaus Schlosser
Nov. 15, 2024
Frans Francken Ii (1581 – Antwerpen – 1642) – Der Triumph der Liebe (The triumph of love)
Est: €30,000 - €40,000
Oil on copper. (c. 1621). 50 x 64 cm. Signed "D. franck in. et. f" lower left. Framed.
Karl & Faber
Nov. 13, 2024
FRANCKEN Frans II (1581 - 1642). Atelier de. Tableaux Huile sur panneau "La
Est: €3,000 - €4,000
FRANCKEN Frans II (1581 - 1642). Atelier de. Tableaux Huile sur panneau "La multiplication des pains". Atelier de Frans Francken. Ecole flamande. (Légers écaillements). Dim.:+/-57x89cm.
Vanderkindere
Oct. 31, 2024
ATTRIBUTED TO FRANS FRANCKEN II (ANTWERP, 1581 - 1642)
Est: €6,000 - €12,000
Attributed to Frans Francken II (Antwerp, 1581 - 1642) ‘Mythological scenes Pair of oil paintings on copper. 55.5 x 42.5 x 5 cm each. Frans Francken II was a celebrated painter of mythological scenes, religious and allegorical compositions, as well as an engraver. As the Prado states, the painter's production can be divided into four stages. The first stage, in which his ‘works denote his initial link with the painting and style of the 16th century, with elevated viewpoints and [...] local colours’; a second, with an increasingly light-coloured palette, in which he began to consolidate himself with an “immense and easily recognisable pictorial corpus”; a third, his period of greatest plenitude, in which “typical male figures wearing turbans or Phrygian caps begin to appear”, a moment in which “the general luminosity reaches [...] its zenith, determining the chromatic scheme of the artist's style”; and a final one, from 1630, when he began to produce “compositions in which local colour evolved towards general tones”, influenced by Rubens and other Dutch painters of his day. Other general characteristics of his work, which continued throughout his career, ‘are his figures with large black eyes, achieved through touches of charcoal black’ and the inclusion, from 1610 (in his second phase), of stereotypical women in his paintings. His work can be found in the Rijksmuseum, the Royal Museum of Fine Arts in Antwerp, the Louvre and, as well as in many other museums, the Prado, where there are up to 20 paintings by this artist, three of which are collaborations. Bibliographical references: -Museo del Prado (s.f.). 'Francken II, Frans'. https://www.museodelprado.es/recurso/francken-ii-frans/094e0a02-6efd-461e-9b9a-9d58d15d71cf. Oil.
La Suite Subastas
Oct. 29, 2024
FRANS FRANCKEN II Antwerp, Netherlands (1581) / (1642) "Christ and the adulterous woman"
Est: €16,500 - €22,000
Oil on panel With signature in the basket on the lower right side Measurements: 45 x 59 cm
Ansorena
Oct. 28, 2024
Circle of FRANS FRANCKEN II (Antwerp, Belgium, 1581 - 1642). "The flagellation of Christ". Oil on canvas. Relined.
Est: €2,500 - €2,800
Circle of FRANS FRANCKEN II (Antwerp, Belgium, 1581 - 1642). "The flagellation of Christ". Oil on canvas. Relined. Measurements: 52 x 76 cm; 62,5 x 85 cm (frame). In this canvas the theme of the flagellation of Christ is approached, developing in a complex architectural space, opening in the right zone of the scene to the outside, where another scene also starring Christ, soldiers and a great multitude is appreciated. It is a compositional scheme of Flemish tradition that promotes the narrativity of the image, in addition to the Flemish influence in the spatial concept. This decisive moment in the life of Jesus is represented in a completely baroque way. Thus, we find ourselves in front of an image full of characters, with a totally variegated composition full of narrative. Aesthetically the work follows models of the painting of Frans Franken II, the most fruitful of his family of painters, was formed with his father, Frans Francken I, and in 1605 he entered the Guild of Painters of St. Luke of Antwerp, thus beginning a career that would last until 1640, in which he specialized in cabinet painting. His contribution to this genre was of great importance, influencing artists such as Teniers. His style is based on that of Jan Brueghel de Velours, although it also shows strong influences of his father and his uncle, Hieronimus Francken. In his early works, debts to Mannerism and 16th century painting can be seen, both in the structure of the compositions and in the rhythm and expression of his figures. They also include evident references to the work of Italian artists such as Raphael, Veronese and Zuccaro. Likewise, the use of prints by Dürer and Lucas de Leyden for some of his figures has been demonstrated. In addition to cabinet painting, Francken painted mythological and biblical themes, some altarpieces and, in collaboration with other artists, painted the figures in landscapes or interior scenes of Tobacco. in landscapes or interior scenes by Tobias Verhaecht, Joos de Momper II, Pieter Neefs or Paul Vredeman de Vries, among others. He is currently represented in the most important art galleries in the world, such as the Prado Museum, the Louvre, the Royal Museum of Fine Arts in Antwerp, the Kunshistorisches Museum in Vienna, the Hermitage in St. Petersburg and the Royal Collection in London, among many others.
Setdart Auction House
Oct. 22, 2024
Frans Francken II, attrib. (1581-1642)The Conversion of the Gentiles
Est: €10,000 - €15,000
The Conversion of the Gentiles Oil on copper39x56 cm
Veritas Art Auctioneers
Oct. 22, 2024
Frans Francken II, attrib. (1581-1642)The Resurrection of Lazarus
Est: €10,000 - €15,000
The Resurrection of Lazarus Oil on copper39x56 cm
Veritas Art Auctioneers
Oct. 22, 2024
Frans Francken II, attrib. (1581-1642)The Wedding at Cana
Est: €10,000 - €15,000
The Wedding at Cana Oil on copper39x56 cm
Veritas Art Auctioneers
Oct. 09, 2024
The Mocking of Christ, attributed to Frans Francken II (Antwerp, 1581-May 6, 1642), Flemish school of the 17th century
Est: €12,000 - €15,000
Oil on panel, total measurements with frame: 85 x 75 cm, panel only measurements: 65 x 50 cm. Provenance: property of an important private collection in Barcelona, lots 270 to 318 (both inclusive).
Templum Fine Art Auctions
Oct. 09, 2024
The Banquet at Epuron, attributed to Frans Francken II (Antwerp, 1581 - Antwerp, 1642)
Est: €40,000 - €42,500
Oil on board, 51 x 35 cm, framed measurements: 80 x 62 cm. Son of Frans Francken I and nephew of Hieronimus Francken. In 1605 he joined the Guild of Painters of San Lucas in his hometown, beginning a career that would last until 1640 in which he specialized as a painter of cabinet works. His contribution to the genre of gallery paintings is very important, which would influence artists like Teniers. His work is based on that of Jan Brueghel de Velours, although it also has obvious influences from his ancestors from the Francken family. Provenance: important private collection, property of an important collector, Spain. Bibliography: José Juan Pérez preciado, in Encyclopedia of the Prado Museum, t. III, pp. 1095-1096
Templum Fine Art Auctions
Sep. 26, 2024
FRANS FRANCKEN II, 1581 ANTWERPEN – 1642 EBENDA
Est: €35,000 - €50,000
ANANIAS WIRD VON PETRUS ENTLARVT Öl auf Holz. 55 x 74 cm. Links unten Signatur am Bildrand neben der Kasette. Verso alter Sammleraufkleber „Kunstkabinet van den Heer Jüngeling“ mit Nummer „16“ und handschriftlicher Datierung „1936“. Hier im Bild wird eine Szene in Art einer Predigt vorgestellt, die eine Bibelepisode illustriert, aber thematisch auf die Hinfälligkeit des Reichtums verweist. Petrus steht erhöht und spricht zur Menge, neben ihm der Jünger Johannes in hellblauem Mantel, dahinter ein bärtiger Apostel. Die Zuhörer sind bestürzt, nachdem ein offensichtlich reicher Mann tot zu Bogen gefallen ist. Es ist Ananias, der vorgab, seine Einkünfte mit der Gemeinde zu teilen. Petrus jedoch enthüllte, dass Ananias nur einen Teil abgegeben hatte, worauf er tot zu Boden fiel. Sein Vermögen wird durch eine Fülle von Preziosen, Prunkgegenständen, Gold- und Silbermünzen illustriert, die neben einer Kassette mit ihm am Boden liegen. Hier konnte sich der Maler auch in seiner Begabung im Stillleben beweisen. Die Vielfalt der unterschiedlichen Gestalten, festlich oder einfach gekleidet, zum Teil mit Turban, staunende Kinder, oder disputierende Alte im Hintergrund, hat der Maler in höchster Lebendigkeit wiedergegeben und psychologisch treffend erfasst. Der Hintergrund zeigt eine Tempelarchitektur mit Nischenfigur des Moses mit den Gesetzestafeln. Rechts oben ist synchronoptisch die Beerdigungsszene des Mannes einbracht, als Verweis, dass niemand seinen Reichtum mitnehmen kann. Die Darstellung spielt wohl auch auf das Lukasevangelium an, in dem vom reichen Mann und dem armen Lazarus die Rede ist. Das Gemälde ist zweifellos den bedeutenden Werken des Oeuvres von Frans Francken II zuzuordnen. Lichtstimmung, ausgewogene Komposition, wirkungsvoll verteilte Farbeffekte und detailfreudige Schilderung zeugen dafür. Der jüngere Frans Francken war wohl der begabteste seiner Malerfamilie und zunächst Schüler seines Vaters, der seinerseits bei Frans Floris studiert hatte. Sein Werk zeigt uns Historienbilder, Kabinettstücke, Kunstkammerbilder und Allegorien. Es fällt auf, dass er sich in seinen Gemälden religiösen Inhalts vor allem moralisierenden Aussagen gewidmet hat. Dazu zählen seine „Bekehrung“ durch Johannes d. T., seine Bergpredigt-Darstellungen oder „Der Mensch in der Entscheidung zwischen Tugend und Laster“ von 1635. Literatur: Vgl. Ursula Härting, Studien zur Kabinettbildmalerei des Frans Francken II. Ein repräsentativer Werkkatalog, Hildesheim 1983. (1410955) (11) Frans II Francken, 1581 Antwerp – 1642 ANANIAS IS EXPOSED BY PETER Oil on panel. 55 x 74 cm. Signed on the edge of the painting next to the box lower left. Verso old collector‘s label “Kunstkabinet van den Heer Jüngeling” with number “16” and handwritten date “1936”. Literature: cf. Ursula Härting, Studien zur Kabinettbildmalerei des Frans Francken II.: 1581 - 1642, ein repräsentativer Werkkatalog. (Studien zur Kunstgeschichte; 21). Hildesheim 1983, (Diss. Rheinische Friedrich-Wilhelms-Universität Bonn).
Hampel Fine Art Auctions
Sep. 24, 2024
ATTRIBUTED TO FRANS FRANCKEN II Antwerp, Belgium (1581) / (1642) "Abraham kneels before the three angels"
Est: €12,750 - €17,000
Oil on copper This work represents the episode known as the appearance of Mambre, narrated in chapter 18 of Genesis ( 1-5). In it, Yahweh and two angels (figures later interpreted as a prefiguration of the Trinity) appear to Abraham in the oak forest of Mambre, in human form. The patriarch welcomes these guests into his house and feeds them, and during the meal one of his guests reiterates that his wife Sara will have a son after a year. It is precisely this moment that the painter captures: the angel on the left appears speaking directly to Abraham, and he listens to him attentively, as indicated by the position of his hands, typical of baroque scenographic gestures. Measurements: 71 x 88 cm
Ansorena
Sep. 23, 2024
Frans FRANCKEN II et atelier
Est: €4,000 - €6,000
Frans FRANCKEN II et atelier (Anvers, 1581 - 1642) Dalila coupe les cheveux de Samson Huile sur panneau de chêne, doublé et parqueté (Petits soulèvements et manques, restaurations anciennes) H : 53.5 cm, L : 36.5 cm Provenance : Collection du marquis de Leganés, galerie d’Altamira, selon le catalogue des tableaux du marquis de Salamanca ; Collection du marquis José de Salamanca (1811-1883), palais Vista Alegre, Carabanchel, Madrid, n° 483 du catalogue des tableaux du marquis dressé vers 1865 (comme Frans Francken II) ; Probablement acquis auprès de ce dernier par Hippolyte Roblot (1828 – 1900) ; Puis par descendance ; Collection particulière, Sud-ouest de la France Frans FRANCKEN II et atelier (Anvers, 1581 - 1642) H : 53.5 cm, L : 36.5 cm
Artcurial
Sep. 20, 2024
PEETER NEEFFS the Elder and FRANS FRANCKEN the Younger
Est: CHF4,000 - CHF6,000
PEETER NEEFFS the Elder and FRANS FRANCKEN the Younger (circa 1578 Antwerp 1656) and (1581 Antwerp 1642) A church interior. Oil on panel. Signed lower right on the wall by both artists: PEETER NEEffS D j ffranck. 25.2 × 21.4 cm. Provenance: Private collection, Switzerland. ------------------------------------------------- PEETER NEEFFS d. Ä. und FRANS FRANCKEN d. J. (c. 1578 Antwerpen 1656) (1581 Antwerpen 1642) Kircheninterieur. Öl auf Holz. Unten rechts auf der Mauer von beiden Künstlern signiert: PEETER NEEffS D j ffranck. 25,2 × 21,4 cm. Provenienz: Schweizer Privatbesitz. Der auf das Malen von Kircheninterieurs spezialisierte Peeter Neeffs d. Ä. war seit 1610 Meister der St. Lukas-Gilde in seiner Heimatstadt Antwerpen. Seine Gemälde zeichnen sich insbesondere durch die raffinierten Licht- und Schatteneffekte in den Kirchenschiffen aus, wobei er es verstand, die monumentale Architektur der Sakralbauten stets mit äusserster Präzision wiederzugeben. Die Zusammenarbeit zwischen Peeter Neeffs d. Ä. und Frans Francken d. J. ist mehrfach dokumentiert. Im vorliegenden Gemälde wird diese schon zu Lebzeiten der Künstler geschätzte Kooperation sichtbar. Das von Neeffs delikat ausgeführte Kircheninterieur wird durch die feine Figurenstaffage Franckens bevölkert. Besonders gelungen ist die Darstellung des Kerzen- und Fackelscheins, der den Kirchenraum erleuchtet sowie die gelungene Staffelung der Figuren in die Tiefe des Gemäldes. Ein vergleichbares Gemälde, das von der künstlerischen Zusammenarbeit zwischen Peeter Neeffs d. Ä. und Frans Francken d. J. zeugt, befindet sich im Wallraf-Richartz-Museum in Köln (Inv.-Nr. 1383).
Koller Auctions
Sep. 12, 2024
The Mocking of Christ, attributed to Frans Francken II (Antwerp, 1581-May 6, 1642), Flemish school of the 17th century
Est: €12,000 - €15,000
Oil on panel, total measurements with frame: 85 x 75 cm, panel only measurements: 65 x 50 cm. Provenance: property of an important private collection in Barcelona, lots 270 to 318 (both inclusive).
Templum Fine Art Auctions
Sep. 12, 2024
The Banquet at Epuron, attributed to Frans Francken II (Antwerp, 1581 - Antwerp, 1642)
Est: €40,000 - €42,500
Oil on board, 51 x 35 cm, framed measurements: 80 x 62 cm. Son of Frans Francken I and nephew of Hieronimus Francken. In 1605 he joined the Guild of Painters of San Lucas in his hometown, beginning a career that would last until 1640 in which he specialized as a painter of cabinet works. His contribution to the genre of gallery paintings is very important, which would influence artists like Teniers. His work is based on that of Jan Brueghel de Velours, although it also has obvious influences from his ancestors from the Francken family. Provenance: important private collection, property of an important collector, Spain. Bibliography: José Juan Pérez preciado, in Encyclopedia of the Prado Museum, t. III, pp. 1095-1096
Templum Fine Art Auctions