Frans (1607) Francken Paintings & Artwork for Sale | Frans (1607) Francken Art Value Price Guide

Oct. 28, 2024
Attributed to FRANS FRANCKEN III, (Antwerp, Belgium, 1607 - 1667). "The Martyrdom of Saint Justine of Padua". Oil on copper. It presents cradled.
Est: €8,000 - €9,000
Attributed to FRANS FRANCKEN III, (Antwerp, Belgium, 1607 - 1667). "The Martyrdom of Saint Justine of Padua". Oil on copper. It presents cradled. Measurements: 80 x 93 cm; 100 x 114 cm (frame). The Flemish painters of the Baroque period treated the biblical subjects with great freedom. Naturalism is sought in the characters, in their cloths and in the silver illumination that bursts from the sky covered with clouds. This work can be related to the painting also attributed to Frans Francken III. Frans Francken III, son of Frans Francken II, was the last member of the important family of painters of this surname. After completing his training, he joined the Guild of St. Luke in Antwerp, his native city, in 1639, and became dean of this institution in 1656, a position he held for a year. Francken III developed an oeuvre heir to that of his father, and in fact his paintings are often confused, because both used the same signature. Thus, we see in his production the influence of Jan Brueghel de Velours and his predecessors of the Francken family, as well as debts with Mannerism and painting of the sixteenth century, noticeable both in the structure of the compositions and in the rhythm and expression of the figures. Moreover, as in the work of his father, his characters include obvious allusions to the work of Italian artists such as Raphael, Veronese and Zuccaro. However, the son's works are characterized by a less emphatic manner and a softer execution than those of Francken II. The reuse of specific motifs from the father's paintings is frequent in the painting of the son, who also shows pictorial borrowings from some Dutch works. His main works are based on the incorporation of figures in the paintings of interiors of Flemish churches of Ludovicus Neefs, of which the two preserved in the Museo del Prado, made around 1646, are a brilliant example. Frans Francken III was master of Carstian Luyckx and Jan Baptist Segaert. He is currently represented in the Prado Museum, the Royal Fine Arts Museum of Belgium, the Museum voor Schone Kunsten in Doornik (Belgium), the Residenzgalerie in Salzburg and other important museums and collections. This painting portrays the martyrdom of Saint Justine of Padua. However, it is in this work where he displays a greater sumptuousness and scenographic complexity. The martyrdom of the saint, who is almost hidden among the number of characters that populate the scene, several earthly and heavenly courtships swirl around the protagonist. Numerous engravings were made of this work that spread the mastery of the composition. An example of this is the engraving belonging to the Valparaiso collection, which was made by Agostino Carracci. Baroque painting was a transforming force to much of the rest of the European schools, masters such as Rubens, Velázquez or Van Dyck succumbed to the works produced by this school during the sixteenth and seventeenth centuries. The vibrant coloring, the fluidity and strength of the brushstroke and a passionate movement full of gestures and theatricality made it a landmark often imitated. The great painters such as Titian, Tintoretto, Bassano or Veronese, championed this vision. Frans Franken III, like his contemporaries, maintains elaborate compositions in which the scenes seem to move by themselves. The loose brushstroke, almost pure brushstrokes gives the feeling of immediacy and leads us to an energetic vision in the color unfolds shining with flashes of red in contrast to a blue that is lost to black and suddenly shines to lead white. It presents cradled.
Setdart Auction House
Sep. 25, 2024
Frans Francken (III), Art des Christ on the Mount of Olives
Est: €700 - €900
Frans Francken (III), Art des 1607 Antwerpen - 1667 ebenda Christ on the Mount of Olives Oil auf copper. 18 x 13.5 cm. Restored. Minor damage. Minor damage to frame (32.5 x 28.5 cm). provenance: private collection, South Germany.
Neumeister
Sep. 24, 2024
AFTER FRANS III FRANCKEN (1607-1667)
Est: €500 - €800
The Dressing of St. Teresa. PICTURES AND PRINTS Tuesday 24th September 2024 Approximate Time 15:39:45
Sheppards
Sep. 10, 2024
Tableaux FRANCKEN Frans III (1607 - 1667). Attribué à.
Est: €2,000 - €3,000
Huile sur cuivre "L'Adoration des Mages". Attribué à Frans Francken III. Ecole flamande, Anvers. Epoque: XVIIème. Dim.:+/-21,7x16,5cm.
Vanderkindere
Apr. 24, 2024
Frans Francken III
Est: €25,000 - €35,000
(Antwerp 1607–1667) Moses striking the Rock, signed lower right: D j ffranck. in ct f., oil on panel, 42.5 x 62.5 cm, framed Provenance: possibly with Forchoudt, Antwerp, 1681 (according to an inscription on the reverse); Collection of Heinrich Scholdan (1868–1947) Vienna; Rittmeister Heinrich Scholdan (1891–1945), Vienna; Mag. Heinrich Scholdan (1925–2022) Vienna; by descent to the present owner We are grateful to Ursula Härting who identified the present painting as a work by Frans Francken III. A copy of her certificate, dated 21 March 2024, accompanies this lot.
Dorotheum
Dec. 19, 2023
Frans Francken III (maniera di) (Anversa, 1607 - Anversa, 1667) Salita al calvario olio su rame cm 25,4x20; con cornice cm 53x47
Est: -
Frans Francken III (maniera di) (Anversa, 1607 - Anversa, 1667) Salita al calvario olio su rame cm 25,4x20; con cornice cm 53x47
Gliubich Casa d'Aste
Dec. 13, 2023
Attributed to FRANS FRANCKEN III (Antwerp, Belgium, 1607 - 1667). "The wedding at Cana." Oil on copper.
Est: €9,000 - €10,000
Attributed to FRANS FRANCKEN III (Antwerp, Belgium, 1607 - 1667). "The Marriage at Cana". Oil on copper. Size: 43,5 x 33,5 cm; 59 x 69 cm (frame). Devotional painting in which one of the miracles of Jesus' life can be seen. It is the well-known theme of the wedding of Cana, of great importance both in the liturgy and, for this reason, in art, as it is the first moment in which Jesus performs a miracle or sign, thus beginning what is known as his "Public Life" and the events that would lead to the Passion and Resurrection. This biblical theme is taken from the Gospel of John (2:1-11). This painting follows the influences of the work in the Chapel of San Hermenegildo in Seville Cathedral, a work attributed on good grounds to the Flemish painter Frans Francken III. The Flemish painters of the Mannerist and Baroque periods treated biblical themes with great freedom and as an excuse to depict customs and people of their own time. In this case we have a singular iconographic display, given that both the stormy sky and the jars piled up on the table in the background, from which a magical aura emerges, point to the conversion of water into wine, the first miracle attributed to Jesus. The style of the painting may be related to the circle of Frans Francken III. The son of Frans Francken II, he was the last member of the important family of painters of this surname. After completing his training he joined the Guild of Saint Luke in Antwerp, his native city, in 1639 and became dean of this institution in 1656, a post he held for a year. Francken III developed an oeuvre that was heir to that of his father and in fact his paintings are often confused due to the fact that they both used the same signature. His oeuvre reveals the influence of Jan Brueghel de Velours and his predecessors in the Francken family, as well as debts to Mannerism and 16th-century painting, evident both in the structure of the compositions and in the rhythm and expression of the figures. Furthermore, as in his father's work, his figures include evident allusions to the work of Italian artists such as Raphael, Veronese and Zuccaro. However, his son's works are characterised by a less emphatic manner and a softer execution than those of Francken II. The reuse of specific motifs from the father's paintings is frequent in the son's work, and he also borrowed from a number of Dutch works. His principal works are based on the incorporation of figures in the paintings of Flemish church interiors by Ludovicus Neefs, of which the two paintings in the Museo del Prado, executed around 1646, are a brilliant example. Frans Francken III was the teacher of Carstian Luyckx and Jan Baptist Segaert. He is now represented in the Museo del Prado, the Royal Belgian Fine Arts Museum, the Museum voor Schone Kunsten in Doornik (Belgium), the Residenzgalerie in Salzburg and other important museums and collections.
Setdart Auction House
Nov. 28, 2023
FRANS FRANCKEN III.: FLORAL WREATH WITH MADONNA, CHILD AND ANGELS, FRAMED BY FOUR PUTTI
Est: €15,000 - €30,000
Frans Francken III. Floral wreath with Madonna, child and angels, framed by four putti oil on copper; framed 35 x 28 cm Dorotheum, Vienna, September 18, 1973, lot 17 (colour ill. pl. V, ill. pl. 8; wrong medium given in the catalogue: oil on panel, as Jan Brueghel the Younger (1601 - 1678) and Frans Francken the Younger (1581 - 1642)); since then private property, Austria As the son of Frans Francken II (called the Younger, 1581-1642) and Elisabeth Placquet, Frans Francken III was born into one of Antwerp's most famous dynasties of painters in the early 17th century. His father's flourishing workshop not only trained his sons Frans, Hieronymus and Ambrosius Francken III, but also employed numerous other workers. In accordance with the common working practice of the time, which involved several specialised painters, the Francken workshop maintained close contacts with that of Jan Brueghel the Elder and his son, Jan Brueghel the Younger (1601-1678), but also with other flower painters such as Andries Daniels and Philipp de Marlier (see Ursula Härting, Frans Francken the Younger (1581-1642). Die Gemälde mit kritischem Oeuvrekatalog, Freren 1989, pp. 264ff., WVZ no. 117-127). The former attribution of the present work to Frans Francken the Younger and Jan Brueghel the Younger is probably also due to this tradition. However, the floral wreath with Mary and Child, angels, and putti, which has been in private ownership for 50 years, can now be attributed entirely to a single artist's hand - that of Frans Francken III. The medallion with the Christ Child standing on Mary's lap, who is being offered food by the angel on the left while the angel on the right plays a string instrument, bears witness to his looser brushstroke, which was trained by his father. The four putti, which enliven the composition right down to the spandrels, also testify to his mastery of figure painting with their movement and detailed modelling of the muscles (as in the Christ Child). Frans Francken III is also documented as a flower painter by a source from 1662. D.F. Hagens (probably Daniel Hagens, another former apprentice of Frans Francken II) wrote to the art dealer G. Forchoudt: "I ask you to enquire whether Mr Francq (Frans Francken III), the painter in the Camerstraet next to the Augustiners (the Augustinian church), has done the flower piece for me that I asked him to do, for which I (still) have to pay him." ("Ick bid Ul. Eens te vragen aen Monsr Francq den schilder in de Camerstraet naest den Augusteynen oft hij een stuckien van blommen voor my gemaeckt heeft als ick hem gebeden hebbe op dat ik hem moet betalen.") There is no doubt that only Frans Francken III can be identified with "Monsr Francq", especially as he was resident in the Camerstraat after the death of his mother, who was already a widow, after 1655 (cf. Härting 1989, p. 185f., p. 218 footnote 890). In addition to its excellent execution, the present bouquet of flowers bound into a wreath captivates with its botanical diversity: hazelnuts, which are rarely found in pure flower still lifes, are visible alongside decorative, red-marbled leaves. Furthermore, the flowers are enlivened by a variety of insects such as butterflies, caterpillars and even ants. The skilful way in which the winged putti positioned in the corners and surrounded by fabric sashes are integrated into the floral wreath is demonstrated by the hand positions of the two upper putti: while the one on the left is pointing at the small forget-me-nots hidden between larger flowers, the one on the right appears to be holding a bouquet himself. By embedding the lower putti at the edges of the wreath and pointing them towards the centre scene, the artist has united the depiction of the figures and the wreath of flowers into a single unit.
Im Kinsky
Nov. 15, 2023
Attributed to FRANS FRANCKEN III (Antwerp, Belgium, 1607 – 1667). “Christ on the way to Calvary.” Oil on copper.
Est: €4,000 - €6,000
Attributed to FRANS FRANCKEN III (Antwerp, Belgium, 1607 – 1667). “Christ on the way to Calvary.” Oil on copper. Measurements: 51 x 65 cm; 62 x 77 cm (frame). The Flemish painters of the Baroque period treated biblical themes with great freedom and took them as an excuse to develop splendid prints of manners, as is evident in this scene. Although Christ occupies the center of the composition and is pushed by the soldiers to continue his march towards Calvary, varied groups of children, elderly people, and mothers breastfeeding their little ones coexist in the same painting. In a rocky landscape, the groups cluster around the biblical characters, who do not acquire any supernatural signs. On the contrary, naturalism is sought in the characters, in their cloths and in the silver lighting that bursts from the cloud-covered sky. This work should be related to a painting also attributed to Frans Francken III that is found in the Chapel of San Hermenegildo in the Cathedral of Seville. Frans Francken III, son of Frans Francken II, was the last member of the important family of painters of this surname. After completing his training, he entered the Guild of Saint Luke in Antwerp, his hometown, in 1639, and became dean of this institution in 1656, a position he held for a year. Francken III developed a work inherited from that of his father, and in fact his paintings are often confused, because both used the same signature. Thus, we see in his production the influence of Jan Brueghel de Velours and his predecessors from the Francken family, as well as debts with mannerism and 16th century painting, noticeable both in the structure of the compositions and in the rhythm and expression. of the figures. Furthermore, as was the case in the work of his father, his characters include obvious allusions to the work of Italian artists such as Raphael, Veronese or Zuccaro. However, the works of his son are characterized by a less emphatic manner and a softer workmanship than those of Francken II. The reuse of specific motifs from the father's paintings in the son's painting is frequent, and he also shows pictorial borrowings from some Dutch works. His main works are based on the incorporation of figures in the interior paintings of Flemish churches by Ludovicus Neefs, of which the two preserved in the Prado Museum, made around 1646, are a brilliant example. Frans Francken III was the teacher of Carstian Luyckx and by Jan Baptist Segaert. He is currently represented in the Prado Museum, the Royal Fine Arts of Belgium, the Museum voor Schone Kunsten in Doornik (Belgium), the Residenzgalerie in Salzburg and other important museums and collections.
Setdart Auction House
Oct. 25, 2023
Frans Francken III. Calvary
Est: -
Oil on panel. Certified by Don Lorenzo A. Arribas de las Heras.
Duran Arte y Subastas
Jul. 21, 2023
JAN BRUEGHEL EL JOVEN Y FRANS FRANCKEN III
Est: €21,000 - €24,000
Jan Brueghel el Joven (Amberes, Bélgica, 1601-1678) y Frans Francken III (Amberes, Bélgica, 1607-1667) La Visitación con orla de flores. Óleo sobre cobre. Un fenómeno común en la pintura del siglo XVII, es la colaboración de varios pintores. Artistas de diferentes géneros colaboraron creando composiciones asombrosamente uniformes. En esta obra, indica el Dr. Klaus Ertz, las flores y frutos son de Jan Brughel el Joven y las figuras de Frans Francken III. Bibliografía de referencia: "Jan Brueghel the Younger (1601-1678). The Paintings with Oeuvre Catalogue", por Klaus Ertz. Luca Verlag Freren. 1984; "Les peintres flamands e genre au XVII siècle", por Francine-Claire Legrand. Éditions Meddens. Bruselas, 1963. Adjunta informe expedido por el Dr. Klaus Ertz. Lingen, 2006. Procedencia. Colección particular, Madrid. 36 x 45 cm.
Aletheia Subastas
Feb. 25, 2023
Frans III Francken (1607-1667) attributed, Abraham and the 3 angels, Abraham und die 3 Engel,
Est: €1,000 -
oil/canvas (doubled on canvas), no recognizable signature, on the reverse with sticky notes, attributed to Frans III Francken (1607-1667), biblical representation from the Old Testament Genesis 18, God comes to Abraham in the form of three men, H 74 cm x W 103 cm, frame 87 x 117 cm, crack above the right angel, restored spots
Antikauktion Krefeld
Feb. 22, 2023
FRANS FRANCKEN III Antwerp (1607 / 1667) "Arrest of Christ"
Est: €6,000 - €8,000
Oil on canvas With traces of signature in the lower right corner Measurements: 57 x 80 cm
Ansorena
Dec. 03, 2022
Frans III Francken (1607-1667) attributed, Abraham and the 3 angels, Abraham und die 3 Engel,
Est: €1,500 -
oil/canvas (doubled on canvas), no recognizable signature, on the reverse with sticky notes, attributed to Frans III Francken (1607-1667), biblical representation from the Old Testament Genesis 18, God comes to Abraham in the form of three men, H 74 cm x W 103 cm, frame 87 x 117 cm, crack above the right angel, restored spots
Antikauktion Krefeld
Sep. 28, 2022
FRANS FRANCKEN III Antwerp (1607 / 1667) "The Wedding at Cana"
Est: €12,000 - €16,000
Oil on copper Measurements: 34 x 44 cm
Ansorena
Sep. 20, 2022
Frans Francken III (Anversa 1607 - 1667)
Est: €8,000 - €12,000
Frans Francken III (Anversa 1607 - 1667) Salomone e la regina di Saba Olio su tela 77,5 x 162,5 cm Frans Francken III fu un membro della dinastia dei pittori Francken. In particolare, fu allievo del celebre Frans II the Yunger, e nel 1639/40 entrò a far parte della Corporazione di San Luca della sua città. Collaborò con i vari membri della famiglia Neefs, dipingendo le figure nelle loro opere. Fu versatile e produsse ritratti, nature morte floreali, soggetti di genere e soggetti religiosi. Oltre alla lezione del padre, costantemente evidente durante la sua attività, egli si evolse traendo anche ispirazione da Pieter Paul Rubens. Frans Francken III (Antwerp 1607 - 1667) Solomon and the queen of Sheba Oil on canvas 77,5 x 162,5 cm
Lucas Aste
Sep. 07, 2022
Attributed to FRANS FRANCKEN III (Antwerp, Belgium, 1607 – 1667). "Fall of Christ on the way to Calvary". Oil on copper.
Est: €1,400 - €1,600
Attributed to FRANS FRANCKEN III (Antwerp, Belgium, 1607 - 1667). "Fall of Christ on the Way to Calvary". Oil on copper. Size: 43,5 x 33,5 cm; 59 x 69 cm (frame). The fall of Jesus is represented here on the way to Calvary, overcome by the weight of the cross. He is attended to by Simon the Cyrenian, who helps him to carry the cross again. The figures are crowded around Christ, who gazes at the Virgin, accompanied by Mary Magdalene. The scene is completed by peasants who also seem to want to help, while the soldiers remain half-hidden in the background. In contrast to Baroque representations, in this composition the emotions are restrained: the Marys contain their grief, the soldiers are not aggressive as is often the case in other representations of this Passion scene. The gestures are restrained, thus adopting a late Renaissance language, still far removed from Baroque dramatism. Devotional painting showing the fall of Christ on the road to Calvary This painting follows the influences of the work in the Chapel of San Hermenegildo in Seville Cathedral, a work attributed on good grounds to the Flemish painter Frans Francken III. The Flemish painters of the Mannerist and Baroque periods treated biblical themes with great freedom and as an excuse to depict the customs and people of their own time. His style can be related to the circle of Frans Francken III. The son of Frans Francken II, he was the last member of the important family of painters of this surname. After completing his training he joined the Guild of Saint Luke in Antwerp, his native city, in 1639 and became dean of this institution in 1656, a post he held for one year. Francken III developed an oeuvre that was heir to that of his father and in fact his paintings are often confused due to the fact that they both used the same signature. His oeuvre reveals the influence of Jan Brueghel de Velours and his predecessors in the Francken family, as well as debts to Mannerism and 16th-century painting, evident both in the structure of the compositions and in the rhythm and expression of the figures. Furthermore, as in his father's work, his figures include evident allusions to the work of Italian artists such as Raphael, Veronese and Zuccaro. However, his son's works are characterised by a less emphatic manner and a softer execution than those of Francken II. The reuse of specific motifs from the father's paintings is frequent in the son's work, and he also borrowed from a number of Dutch works. His principal works are based on the incorporation of figures in the paintings of Flemish church interiors by Ludovicus Neefs, of which the two paintings in the Museo del Prado, executed around 1646, are a brilliant example. Frans Francken III was the teacher of Carstian Luyckx and Jan Baptist Segaert. He is now represented in the Museo del Prado, the Royal Belgian Museum of Fine Arts, the Museum voor Schone Kunsten in Doornik (Belgium), the Residenzgalerie in Salzburg and other important museums and collections.
Setdart Auction House
Jun. 07, 2022
FRANS FRANCKEN III. ADORACIÓN DE LOS REYES MAGOS.
Est: €1,000 - €2,500
Frans Francken III (Amberes, 1607-1667) Adoración de los Reyes Magos. Óleo sobre cobre. Hijo de Frans Francken II y último miembro de la importante familia de pintores. Entró en el Gremio de San Lucas de Amberes en 1639. Su obra se relaciona con la de su padre con la que se confunde en muchas ocasiones debido a la utilización de una firma idéntica. Sus obras se caracterizan por una manera menos rotunda y una factura más suave que la de su progenitor. 25,5 x 21 cm.
Aletheia Subastas
May. 25, 2022
Attributed to FRANS FRANCKEN III (Antwerp, Belgium, 1607 - 1667). "The wedding at Cana." Oil on copper.
Est: €8,000 - €10,000
Attributed to FRANS FRANCKEN III (Antwerp, Belgium, 1607 - 1667). "The Marriage at Cana". Oil on copper. Size: 43,5 x 33,5 cm; 59 x 69 cm (frame). Devotional painting in which one of the miracles of Jesus' life can be seen. It is the well-known theme of the wedding of Cana, of great importance both in the liturgy and, for this reason, in art, as it is the first moment in which Jesus performs a miracle or sign, thus beginning what is known as his "Public Life" and the events that would lead to the Passion and Resurrection. This biblical theme is taken from the Gospel of John (2:1-11). This painting follows the influences of the work in the Chapel of San Hermenegildo in Seville Cathedral, a work attributed on good grounds to the Flemish painter Frans Francken III. The Flemish painters of the Mannerist and Baroque periods treated biblical themes with great freedom and as an excuse to depict customs and people of their own time. In this case we have a singular iconographic display, given that both the stormy sky and the jars piled up on the table in the background, from which a magical aura emerges, point to the conversion of water into wine, the first miracle attributed to Jesus. The style of the painting may be related to the circle of Frans Francken III. The son of Frans Francken II, he was the last member of the important family of painters of this surname. After completing his training he joined the Guild of Saint Luke in Antwerp, his native city, in 1639 and became dean of this institution in 1656, a post he held for a year. Francken III developed an oeuvre that was heir to that of his father and in fact his paintings are often confused due to the fact that they both used the same signature. His oeuvre reveals the influence of Jan Brueghel de Velours and his predecessors in the Francken family, as well as debts to Mannerism and 16th-century painting, evident both in the structure of the compositions and in the rhythm and expression of the figures. Furthermore, as in his father's work, his figures include evident allusions to the work of Italian artists such as Raphael, Veronese and Zuccaro. However, his son's works are characterised by a less emphatic manner and a softer execution than those of Francken II. The reuse of specific motifs from the father's paintings is frequent in the son's work, and he also borrowed from a number of Dutch works. His principal works are based on the incorporation of figures in the paintings of Flemish church interiors by Ludovicus Neefs, of which the two paintings in the Museo del Prado, executed around 1646, are a brilliant example. Frans Francken III was the teacher of Carstian Luyckx and Jan Baptist Segaert. He is now represented in the Museo del Prado, the Royal Belgian Fine Arts Museum, the Museum voor Schone Kunsten in Doornik (Belgium), the Residenzgalerie in Salzburg and other important museums and collections.
Setdart Auction House
Apr. 30, 2022
FRANCKEN FRANS III (1607 - 1667) FRANCKEN FRANS III (1607 - 1667) olieverfschilderij op paneel met e
Est: €1,000 - €1,500
FRANCKEN FRANS III (1607 - 1667) FRANCKEN FRANS III (1607 - 1667) olieverfschilderij op paneel met een geanimeerd bijbels tafereel en een geschreven tekst : "Wie zonder zonde is, werpe de eerste steen" - 22,5 x 29,5 getekend Franck 17th Cent. Flemish oil on panel - signed Franck (probably Frans III Francken) FRANCKEN FRANS III (1607 - 1667) olieverfschilderij op paneel met een geanimeerd bijbels tafereel en een geschreven tekst : "Wie zonder zonde is, werpe de eerste steen" - 22,5 x 29,5 getekend Franck ||17th Cent. Flemish oil on panel - signed Franck (probably Frans III Francken)
DVC
Apr. 27, 2022
FRANS FRANCKEN III (Antwerp, Belgium, 1607 - 1667). "The Liberation of St. Peter". Oil on copper. With restorations. The frame has faults.
Est: €3,000 - €3,500
FRANS FRANCKEN III (Antwerp, Belgium, 1607 - 1667). "The Liberation of St. Peter. Oil on copper. With restorations. The frame is missing. Measurements: 27 x 36 cm; 40 x 49 cm (frame). Frans Francken III represents in this copper painting the liberation of Saint Peter from the prison of Agrippa I the Great. As it is narrated in the Acts of the Apostles, Saint Peter was freed by an angel, who woke the saint and broke his chains, escaping while the soldiers slept. The son of Frans Francken II, Frans Francken III was the last member of the important family of painters of this surname. After completing his training he entered the Guild of Saint Luke in Antwerp, his native city, in 1639 and became dean of this institution in 1656, a post he held for a year. Francken III developed an oeuvre that was heir to that of his father and in fact his paintings are often confused due to the fact that they both used the same signature. His oeuvre reveals the influence of Jan Brueghel de Velours and his predecessors in the Francken family, as well as debts to Mannerism and 16th-century painting, evident both in the structure of the compositions and in the rhythm and expression of the figures. Furthermore, as in his father's work, his figures include evident allusions to the work of Italian artists such as Raphael, Veronese and Zuccaro. However, his son's works are characterised by a less emphatic manner and a softer execution than those of Francken II. The reuse of specific motifs from the father's paintings is frequent in the son's work, and he also borrowed from a number of Dutch works. His principal works are based on the incorporation of figures in the paintings of Flemish church interiors by Ludovicus Neefs, of which the two paintings in the Museo del Prado, executed around 1646, are a brilliant example. Frans Francken III was the teacher of Carstian Luyckx and Jan Baptist Segaert. He is now represented in the Museo del Prado, the Royal Belgian Museum of Fine Arts, the Museum voor Schone Kunsten in Doornik (Belgium), the Residenzgalerie in Salzburg and other important museums and collections.
Setdart Auction House
Apr. 27, 2022
FRANS FRANCKEN III (Antwerp, Belgium, 1607 - 1667). "Banquet of the Rich Epulon". Oil on copper. The frame has faults. With restorations.
Est: €3,500 - €4,000
FRANS FRANCKEN III (Antwerp, Belgium, 1607 - 1667). "Banquet of the Rich Epulon". Oil on copper. The frame is missing. With restorations. Measurements: 27 x 36 cm; 40 x 49 cm (frame). Frans Francken III represents in this copper painting Epulon, a rich man who dressed in purple and fine linen and lived in luxury every day, eating an ostentatious banquet at the skirts of his castle. The scriptures tell that at his gate stood a beggar named Lazarus, depicted by Francken in the background, covered with sores, who longed to eat what fell from the rich man's table. Even the dogs came and licked his sores. The time came when the beggar died and the angels carried him to Abraham's side. The rich man also died and was buried. In Hades, where he was in torment, he looked up and saw Abraham in the distance, with Lazarus beside him. Then he cried out to him, Father Abraham, have mercy on me and send Lazarus to dip the tip of his finger in water and cool my tongue, for I am in agony in this fire. But Abraham answered, Son, remember that in your life you received your good things, while Lazarus received bad things, but now he is comforted here and you are in agony. And besides all this, between us and you there is a great gulf. He answered, "Then I beg you, father, send Lazarus to my family, for I have five brothers. Let him warn them, lest they also come to this place of torment". Abraham replied, "They have Moses and the prophets; let them listen to them." "No, father Abraham,' he said, 'but if anyone from among the dead goes to them, they will repent. He said to him: If they do not listen to Moses and the Prophets, they will not be convinced, even if someone rises from the dead." The son of Frans Francken II, Frans Francken III was the last member of the important family of painters of this surname. After completing his training he joined the Guild of Saint Luke in Antwerp, his native city, in 1639 and became dean of this institution in 1656, a post he held for a year. Francken III developed an oeuvre that was heir to that of his father and in fact his paintings are often confused due to the fact that they both used the same signature. His oeuvre reveals the influence of Jan Brueghel de Velours and his predecessors in the Francken family, as well as debts to Mannerism and 16th-century painting, evident both in the structure of the compositions and in the rhythm and expression of the figures. Furthermore, as in his father's work, his figures include evident allusions to the work of Italian artists such as Raphael, Veronese and Zuccaro. However, his son's works are characterised by a less emphatic manner and a softer execution than those of Francken II. The reuse of specific motifs from the father's paintings is frequent in the son's work, and he also borrowed from a number of Dutch works. His principal works are based on the incorporation of figures in the paintings of Flemish church interiors by Ludovicus Neefs, of which the two paintings in the Museo del Prado, executed around 1646, are a brilliant example. Frans Francken III was the teacher of Carstian Luyckx and Jan Baptist Segaert. He is now represented in the Museo del Prado, the Royal Belgian Museum of Fine Arts, the Museum voor Schone Kunsten in Doornik (Belgium), the Residenzgalerie in Salzburg and other important museums and collections.
Setdart Auction House
Mar. 29, 2022
ATTRIBUTED TO FRANS FRANCKEN III Antwerp 1607 - 1667 Saint Peter freed by the angel <
Est: €1,500 - €3,000
ATTRIBUTED TO FRANS FRANCKEN III Antwerp 1607 - 1667 Saint Peter freed by the angel Oil on copper Measures 28.5 x 37 cm
Subastas Segre
Mar. 29, 2022
ATTRIBUTED TO FRANS FRANCKEN III Antwerp 1607 - 1667 Scene from the story of Lazarus
Est: €1,500 - €3,000
ATTRIBUTED TO FRANS FRANCKEN III Antwerp 1607 - 1667 Scene from the story of Lazarus and the rich Epulon Oil on copper Size 28.5 x 37 cm
Subastas Segre
Mar. 02, 2022
FRANS FRANCKEN III. Antwerp (1607/1667). "Prison of Christ".
Est: €7,500 - €15,000
57 x 80 cm . Oil on canvas. With traces of signature in the lower right corner.
Ansorena
Feb. 23, 2022
FRANS FRANCKEN III (Antwerp, Belgium, 1607 - 1667). "Jesus and the rich young man". Oil on copper. Frame of the 19th century.
Est: €4,000 - €5,000
FRANS FRANCKEN III (Antwerp, Belgium, 1607 - 1667). "Jesus and the rich young man". Oil on copper. Frame of the 19th century. Measurements: 41 x 35 cm; 64 x 59 cm (frame). In this copper Frans Francken III gives us the episode of Jesus and the rich young man, related in the three synoptic Gospels. It shows the moment when the young man kneels before Jesus, asking him "Good Master, what shall I do to inherit eternal life, since I have already done all that the Jewish law requires of me? Jesus replied, "Why do you call me good? No one is good, but only one, God. You know the commandments: Do not kill, do not commit adultery, do not steal, do not bear false witness, do not defraud, honour your father and mother." The Messiah continued: To enter the kingdom of the Lord "go and sell what you have and give to the poor, and you will have treasure in heaven; then come and follow me". The rich young man, however, did not divest himself of his wealth. Due to its morphological and stylistic characteristics, this work belongs to the production of Frans Francken III. The son of Frans Francken II, he was the last member of the important family of painters of this surname. After completing his training he joined the Guild of Saint Luke in Antwerp, his native city, in 1639 and became dean of that institution in 1656, a post he held for one year. Francken III developed an oeuvre that was heir to that of his father and in fact his paintings are often confused due to the fact that they both used the same signature. His oeuvre reveals the influence of Jan Brueghel de Velours and his predecessors in the Francken family, as well as debts to Mannerism and 16th-century painting, evident both in the structure of the compositions and in the rhythm and expression of the figures. Furthermore, as in his father's work, his figures include evident allusions to the work of Italian artists such as Raphael, Veronese and Zuccaro. However, his son's works are characterised by a less emphatic manner and a softer execution than those of Francken II. The reuse of specific motifs from the father's paintings is frequent in the son's work, and he also borrowed from a number of Dutch works. His principal works are based on the incorporation of figures in the paintings of Flemish church interiors by Ludovicus Neefs, of which the two paintings in the Museo del Prado, executed around 1646, are a brilliant example. Frans Francken III was the teacher of Carstian Luyckx and Jan Baptist Segaert. He is now represented in the Museo del Prado, the Royal Belgian Fine Arts Museum, the Museum voor Schone Kunsten in Doornik (Belgium), the Residenzgalerie in Salzburg and other important museums and collections.
Setdart Auction House
Jan. 26, 2022
Attributed to FRANS FRANCKEN III (Antwerp, Belgium, 1607 - 1667). "The wedding at Cana." Oil on copper.
Est: €17,000 - €18,000
Attributed to FRANS FRANCKEN III (Antwerp, Belgium, 1607 - 1667). "The Marriage at Cana". Oil on copper. Size: 43,5 x 33,5 cm; 59 x 69 cm (frame). Devotional painting in which one of the miracles of Jesus' life can be seen. It is the well-known theme of the wedding of Cana, of great importance both in the liturgy and, for this reason, in art, as it is the first moment in which Jesus performs a miracle or sign, thus beginning what is known as his "Public Life" and the events that would lead to the Passion and Resurrection. This biblical theme is taken from the Gospel of John (2:1-11). This painting follows the influences of the work in the Chapel of San Hermenegildo in Seville Cathedral, a work attributed on good grounds to the Flemish painter Frans Francken III. The Flemish painters of the Mannerist and Baroque periods treated biblical themes with great freedom and as an excuse to depict customs and people of their own time. In this case we have a singular iconographic display, given that both the stormy sky and the jars piled up on the table in the background, from which a magical aura emerges, point to the conversion of water into wine, the first miracle attributed to Jesus. The style of the painting may be related to the circle of Frans Francken III. The son of Frans Francken II, he was the last member of the important family of painters of this surname. After completing his training he joined the Guild of Saint Luke in Antwerp, his native city, in 1639 and became dean of this institution in 1656, a post he held for a year. Francken III developed an oeuvre that was heir to that of his father and in fact his paintings are often confused due to the fact that they both used the same signature. His oeuvre reveals the influence of Jan Brueghel de Velours and his predecessors in the Francken family, as well as debts to Mannerism and 16th-century painting, evident both in the structure of the compositions and in the rhythm and expression of the figures. Furthermore, as in his father's work, his figures include evident allusions to the work of Italian artists such as Raphael, Veronese and Zuccaro. However, his son's works are characterised by a less emphatic manner and a softer execution than those of Francken II. The reuse of specific motifs from the father's paintings is frequent in the son's work, and he also borrowed from a number of Dutch works. His principal works are based on the incorporation of figures in the paintings of Flemish church interiors by Ludovicus Neefs, of which the two paintings in the Museo del Prado, executed around 1646, are a brilliant example. Frans Francken III was the teacher of Carstian Luyckx and Jan Baptist Segaert. He is now represented in the Museo del Prado, the Royal Belgian Fine Arts Museum, the Museum voor Schone Kunsten in Doornik (Belgium), the Residenzgalerie in Salzburg and other important museums and collections.
Setdart Auction House
Dec. 04, 2021
FRANCKEN FRANS III (1607 - 1667) olieverfschilderij op paneel met een geanimeerd bijbels tafereel en
Est: €1,000 - €1,500
FRANCKEN FRANS III (1607 - 1667) olieverfschilderij op paneel met een geanimeerd bijbels tafereel en een geschreven tekst : "Wie zonder zonde is, werpe de eerste steen" - 22,5 x 29,5 getekend Franck 17th Cent. Flemish oil on panel - signed Franck (probably Frans III Francken)
DVC
Jul. 20, 2021
FRANS FRANCKEN III (1607 / 1667) "Prendimiento de Cristo"
Est: €9,000 - €18,000
With traces of signature in the lower right corner . Oil on canvas
Ansorena
May. 14, 2021
ASCENT OF CHRIST TO CALVARY
Est: €2,500 - €3,500
CIRCLE OF FRANS FRANCKEN III (Antwerp, 1607 - 1667) Ascent of Christ to Calvary Oil on copper, cm. 25,3x20,2. Framed
Bertolami Fine Art s.r.l.
Nov. 20, 2020
Frans FRANCKEN le JEUNE et son atelier (Anvers 1607 - 1667).
Est: €5,000 - €7,000
Frans FRANCKEN le JEUNE et son atelier (Anvers 1607 - 1667). La Conversion de saint Paul Cuivre parqueté 52 x 61,5 cm Réplique agrandie du tableau La Conversion de Saint Paul qui était en 1989 dans une collection allemande (voir U. Härting, Frans Francken II, Freren, 1989, n°236 reproduit).
Tessier & Sarrou et Associes
Sep. 21, 2019
Frans Francken III, The Holy Family, Oil on Copper
Est: $3,000 - $5,000
Frans Francken III (1607-1667), The Holy Family, oil on copper, 13 1/2" x 12", frame 17" x 15".
Kaminski Auctions
Feb. 19, 2019
FRANCKEN Frans III (1607 - 1667) Huile sur toile "L'Adoration des Mages". A
Est: €1,000 - €1,200
FRANCKEN Frans III (1607 - 1667) Huile sur toile "L'Adoration des Mages". Atelier de Frans Francken III. Ecole flamande. Epoque: XVIIème. (Écaillements). Dim.:114,5x163,5cm.
Vanderkindere
Nov. 14, 2018
Frans Francken III (Antwerp, 1607 - 1667)
Est: €13,000 - €18,000
Frans Francken III (Antwerp, 1607 - 1667) Adoration of the golden calf Oil on copper, cm. 57x64. Framed. The painting is accompanied by an expertise by Dr. Didier Bodart.
Bertolami Fine Art s.r.l.
Nov. 14, 2018
Frans Francken III (Antwerp, 1607 - 1667)
Est: €6,000 - €8,000
Frans Francken III (Antwerp, 1607 - 1667) The Dressing of Saint Teresa of Avila Oil on copper, cm. 43x35. Framed The painting is accompanied by an expertise by Dr. Didier Bodart.
Bertolami Fine Art s.r.l.
Oct. 30, 2018
FRANS FRANCKEN II - (ANTWERP 1607-1667)
Est: $30,000 - $50,000
FRANS FRANCKEN II (ANTWERP 1607-1667) The Lamentation signed: 'f francken in et f:' (lower right) oil and gold on panel, with the panel maker's mark of Lambrecht Steens (active c. 1608-1638) 13 3/8 x 19 1/8 in. (34 x 48.5 cm.)
Christie's
Jun. 19, 2018
Huile sur toile "L'Adoration des Mages". Atelier de Frans Francken III. Ecole flamande. Epoque: XVIIème. (Écaillements). Dim.:114,5x163,5cm.
Est: €1,800 - €2,400
Huile sur toile "L'Adoration des Mages". Atelier de Frans Francken III. Ecole flamande. Epoque: XVIIème. (Écaillements). Dim.:114,5x163,5cm.
Vanderkindere
Jun. 27, 2017
Circle of Frans Francken III (Flemish 1607-1667) - The Deposition
Est: £3,000 - £5,000
Oil on copper 17 x 13.5 cm (6 7/8 x 5 1/4 in.) Held in a later 19th century tabernacle style frame. The overall style and type of the painting point to a likely execution date of sometime during the mid-late 17th century. The work can be compared on stylistic grounds to the Francken studios and most notably the hand of Frans Francken III (1607-1667). Although the precise identity of the author has yet to be resolved, a plausible attribution to Circle of Frans Francken III and studio has been suggested. A comparison between the present lot with other works from Frans Francken III s (1607-1667) oeuvre, highlights similarities in the characterisation of the figures and treatment of light.
Dreweatts 1759
Nov. 13, 2015
FRANCKEN, FRANS III. - Antwerp 1607 - 1667 - workshop - Erection of the Cross.
Est: €5,000 - €6,000
FRANCKEN, FRANS III. Antwerp 1607 - 1667 - workshop Erection of the Cross. Around the central depiction there are the four evangelists in the pendentives, four angels with the weapons of Christ on the sides as well as God the Father and the damned of hell. Oil on oak. 64 x 48cm. Framed. Verso: Remains of a panel maker lower right. Cf. literature: Härting, Ursula: Frans Francken d.J., 1989, p. 262. 35% buyer's premium under the margin scheme incl. allocation for import VAT, as item has been imported from outside the EU (Conditions of Sale § 5.2).
Van Ham Kunstauktionen
Apr. 29, 2015
FRANS FRANCKEN III (Antwerp 1607-1667) The Family of Darius before Alexander
Est: £3,000 - £5,000
FRANS FRANCKEN III (Antwerp 1607-1667) The Family of Darius before Alexander
Bonhams
Apr. 29, 2015
FRANS FRANCKEN III (Antwerp 1607-1667) The Exodus from Egypt
Est: £3,000 - £5,000
FRANS FRANCKEN III (Antwerp 1607-1667) The Exodus from Egypt
Bonhams
Mar. 14, 2015
Frans III Francken 1607 Antwerpen - 1667 Antw...
Est: €1,200 - €1,500
Frans III Francken 1607 Antwerpen - 1667 Antwerpen attr. - Ecce homo - Öl/Kupfer. 24 x 19,3 cm. Rahmen. Leichter Farbverlust a. d. linken, unteren Ecke. - Lit.: Th.-B. XII, S. 343. Mitglied der berühmten Antwerpener Malerfamilie Francken und Sohn des Frans II Francken.
Das Kunst- und Auktionshaus Kastern GmbH & Co KG
Jul. 13, 2014
Studio of FRANS FRANCKEN III (Flemish 1607-1667) A PAINTING, "Christ carrying the Cross,"
Est: $10,000 - $12,000
Studio of FRANS FRANCKEN III (Flemish 1607-1667) A PAINTING, "Christ carrying the Cross," oil on canvas laid on board, 39" x 50 3/4" Presented in a museum quality, Baroque style, hand carved wooden frame affixed with a brass plaque incised with "Francke, Esc. Flem. XVII". Provenance: Purchased by the current owner from the collection of the late Baron of Belcastel, France.
Houston Auction Company
May. 31, 2014
Frans III Francken 1607 Antwerpen - 1667 Antw...
Est: €1,800 - €2,800
Frans III Francken 1607 Antwerpen - 1667 Antwerpen attr. - Ecce homo - Öl/Kupfer. 24 x 19,3 cm. Rahmen. Leichter Farbverlust a. d. linken, unteren Ecke. - Lit.: Th.-B. XII, S. 343. Mitglied der berühmten Antwerpener Malerfamilie Francken und Sohn des Frans II Francken.
Das Kunst- und Auktionshaus Kastern GmbH & Co KG
May. 17, 2014
Frans Francken the Younger, Allegory of Sight
Est: €18,000 - €20,000
Frans Francken the Younger, Allegory of Sight CertificateUrsula Härting, 4.11.2003This small wooden panel by Frans Francken the Younger was originally part of a now incomplete series of "The Five Senses" (U. Härting). This image depicts an allegory of the sense of sight: A courtly gentleman is shown embracing a lady and pointing to the mirror in her hand. Beside the figures, a pair of glasses and a telescope - like the mirror representing sight - are shown upon a stool. However, the work also points subtly to a further level of interpretation which will here only be mentioned briefly, namely that relating to sins such as vanity, lasciviousness and luxurious living. Typical of Francken is the playful and delicate way in which these moral connotations are hinted at. The characteristically light and practised glazing technique with which the warm yellow and red tones have been applied lends harmony to this "en miniature" image (U. Härting). 19 x 16 cm
Kunsthaus Lempertz KG
Mar. 01, 2014
[Ecole flamande]. Entourage de Frans FRANCKEN II. - Lazare et le mauvais riche. c. 1610. (Luc 16, 19-31).
Est: €25,000 - €30,000
[Ecole flamande]. Entourage de Frans FRANCKEN II. Lazare et le mauvais riche. c. 1610. (Luc 16, 19-31). Huile sur panneau, 75 x 106. Travail du bois sur quelque 20 cm, sans pertes. Le coin supérieur droit du tableau, fort assombri, ne permet pas de distinguer clairement les détails. Sinon, ensemble en très bonne condition. Cadre doré moderne. Sujet: A l'avant-plan figurent d'élégants personnages baignant dans le luxe et les plaisirs raffinés de la table (on pouvait y reconnaître des visages de collectionneurs ou de riches marchands de l'époque); à droite, nous assistons au festin d'Epulon et de ses convives, et sur la gauche on observe Lazare chassé par des serviteurs. Dans la niche au-dessus des deux jeunes filles attablées, apparaît une représentation de l'agonie du riche. A l'arrière-plan, le riche se consume dans les flammes de l'enfer, tandis que dans le ciel Lazare repose dans le sein d'Abraham. Il existe plusieurs versions de ce tableau attribué à F. Francken. Le monogramme H.V.b. inscrit sur la tourte apportée par un serviteur sur la droite de notre version autoriserait l'attribution à Hendrick Van Baelen, membre de la guilde de Saint Luc dans laquelle on retrouve Bruegel de Velours, P. P. Rubens, S. Vrancx, A. Janssens et F. Francken. Dans le registre de l'atelier de H. Van Baelen on trouve 27 noms, dont celui de Antoine Van Dijk. H. Van Baelen est un spécialiste des tableaux de cabinets, réputé pour la finesse de son trait dans l'illustration de sujets mythologiques et bibliques. Diverses versions de ce tableau sont attribuées pour la plupart à F. Francken, mais également à Kaspar Van den Hoecke, son fils, dont une plus petite se trouve être identique à notre exemplaire à l'exception de la présence d'un petit chien à l'avant-plan. On trouve parfois dans d'autres versions également similaires par le nombre de personnages et le décor, des variations quant aux coloris des tissus, un singe sur la partie gauche du tableau, dans une version passée en vente en 1993 chez Tajan, Paris, version au format de 75 x 106 cm également. Si le monogramme H.V.b. de Van Baelen se retrouve bien dans un de ses tableaux représentant Moïse célébrant le passage de la Mer Rouge (huile sur bois, Sienne, Pinacoteca Nazionale), par ailleurs le style de cet artiste n'est pas tout à fait reconnaissable dans notre version, qui est incontestablement par sa qualité et sa finesse d'exécution sortie des ateliers de F. Francken II. La collaboration de H. Van Baelen avec F. Francken est mentionnée dans: De Maere J., Wabbes M., Illustrated dictionary of 17th century Flemish painting, 1994, p. 44. Il s'agit d'une des meilleurs versions exécutées au départ d'un prototype de Francken. Il existe également une version au Musée d'art religieux et d'art mosan de Liège (Grand Curtius).
Lhomme
Oct. 30, 2013
Frans Francken III (Antwerp 1607-1667)
Est: £1,000 - £1,500
Christ amongst the Doctors oil on copper 22.2 x 15.5cm (8 3/4 x 6 1/8in).
Bonhams
Sep. 28, 2013
Studio of FRANS FRANCKEN III (Flemish 1607-1667) A
Est: $15,000 - $25,000
Studio of FRANS FRANCKEN III (Flemish 1607-1667) A PAINTING, "Christ carrying the Cross,"Studio of FRANS FRANCKEN III (Flemish 1607-1667) A PAINTING, "Christ carrying the Cross,"Christ Carrying the Cross, oil on canvas laid on board, 39" x 50 3/4" Presented in a museum quality, Baroque style, hand carved wooden frame affixed with a brass plaque incised with "Francke, Esc. Flem. XVII". Provenance: Purchased by the current owner from the collection of the late Baron of Belcastel, France.
Simpson Galleries, LLC