Frans Wouters Paintings & Artwork for Sale | Frans Wouters Art Value Price Guide

Mar. 27, 2025
Frans Wouters, 1612/14 Lier – 1659 Antwerpen, zugeschrieben
Est: €3,000 - €5,000
DIANA UND IHRE NYMPHEN VON SATYRN BELAUSCHT Öl auf Holz. Parkettiert. 40 x 58 cm. In dekorativem Rahmen. An einem Waldrand die schöne, liegende, nackte Diana, lediglich ein bläuliches Tuch umhüllt ihre Schulterpartie und den Schambereich. Hinter ihr die ruhenden Nymphen, während seitlich ein Speer und unterhalb der Diana ein Köcher mit Pfeilen für die Jagd zu erkennen sind. Rechtsseitig nähern sich einige Satyrn, von denen einer nach ihrem Tuch greift. Malerei mit starkem Hell-Dunkel-Effekt, bei der insbesondere das helle feine Inkarnat von Diana und ihren Nymphen hervorgehoben wird. Ein ähnliches Motiv lässt sich auch bei Peter Paul Rubens (1577-1640) finden. (1431064) (18)
Hampel Fine Art Auctions
Mar. 26, 2025
JAN BRUEGHEL "the Younger" (Brussels 1601-1678) and FRANS WOUTERS (Lier, 1612- Antwerp, 1659). "The three graces with basket of flowers", ca. 1635. Oil on copper. Attached study by the gallery Soraya Cartategui.
Est: €160,000 - €170,000
JAN BRUEGHEL "the Younger" (Brussels 1601-1678) and FRANS WOUTERS (Lier, 1612- Antwerp, 1659). "The three graces with basket of flowers", ca. 1635. Oil on copper. Attached study by the gallery Soraya Cartategui. It presents restorations in the pictorial surface. It has a Dutch style frame of the twentieth century. Measurements: 47 x 34,7 cm; 66 x 54 cm (frame). According to the words of Sorita Cartategui's study "Our painting, made by Jan Brueghel II and Frans Wouters, is very similar to the prototype works of P.P. Rubens, using his large composition, the same subject matter and environment to create his personal variation. While there is an obvious derivation from Rubens' prototype, which in turn is clearly inspired by prints and engravings depicting a famous group of sculptures found in Italy and belonging to the important Piccolomini collection, there are also visual and stylistic differences at several points. The renewed interest in classical studies and the taste for refined allegories created a strong demand among collectors, who wished to enrich their collections with paintings that were captivating, pleasing and, if possible, associated with the most celebrated cultural events of the day. The Three Graces, were the Roman goddesses of charm, beauty and creativity, each in charge of a different aspect of art (Splendor, Joy and Fullness). It is therefore not surprising that Frans Wouters, a pupil of Rubens, has provided here his personal interpretation of the model for which his master was famous, or that Jan Brueghel has infused all his skill in interpreting the landscape and the large floral basket it holds. The Three Graces. Thanks to the natural sheen of copper, it makes the details gleam with tiny, brilliant touches, making the "Brueghel style" famous throughout Europe for its brilliant color, imaginative grain and refined surface quality that alone distinguishes the Flemish school from all others. Klaus Ertz, who had the opportunity to study this unpublished painting in person, saw the work as clearly related to the figurative prototype created by Rubens." Jan Brueghel the Younger was a Flemish painter who specialized in still life and flower painting, although he also worked in landscape, mythological, allegorical and biblical scenes. He was an independent artist of great talent. The eldest son of Jan Brueghel de Velours, and grandson of Pieter Brueghel the Elder, he probably trained in his father's workshop, and it was also his father who encouraged him to travel to Milan in 1622, to enter the service of Cardinal Federico Borromeo. From Milan he traveled to Malta and Sicily and in 1625, after receiving the news of his father's death, he returned to Antwerp to take charge of his workshop. That same year he is registered as a master in the Guild of Painters of St. Luke. During these years he sold the paintings left by his father, and successfully completed those he had left unfinished. He also produced a number of small format paintings following his father's style, repeating his father's still lifes, flower garlands, landscapes and allegories. However, he did not do so as a mere copyist, but incorporated novelties and gave his work a personal accent. Among his most prominent patrons were the French court, which commissioned a "Cycle of Adam" (1630-31), and the Austrian court, for which he worked in 1651, after which he returned to Antwerp in 1657, where he lived until his death. He is currently represented only in a few private collections and in prominent institutions (in the Prado Museum in Madrid, the Hermitage in St. Petersburg, the Metropolitan in New York, the Kunsthistorisches in Vienna and other museums around the world). Attached is a study carried out by the Soraya Cartategui Gallery. It presents restorations in the pictorial surface. It has a Dutch style frame from the XX century.
Setdart Auction House
Dec. 19, 2024
FRANS WOUTERS (Lier, 1612- Antwerp, 1659). "Cephalus and Procris". Oil on copper. Presents faults.
Est: €2,500 - €3,000
FRANS WOUTERS (Lier, 1612- Antwerp, 1659). "Cephalus and Procris". Oil on copper. Presents faults. Measurements: 55 x 72 cm; 79,5 x 96 cm (frame). In this work the mythological history of Cephalus and Procris is collected. Cephalus was married to Procris, a daughter of Erecteo. The goddess of dawn, Eos fell in love with him and kidnapped Cephalus while he was hunting. The resilient Cephalus and Eos became lovers, and she bore him a son named Phaethon (not to be confused with the son of the sun god Helios). Some sources also give Tithonos and Hesperus as sons of Cephalus and Eos. However, Cephalus always pined for Procris, which caused a disgruntled Eos to return him, making disparaging remarks about his wife's fidelity. Bribed by a golden crown, his wife admitted Pteleon into her bed and, being detected by Cephalus, fled to Minos. As for the image, the scene reflects the narration found in Ovid's Metamorphosis, specifically in book VII. Procris jealous of her husband, and sure of his infidelity decided to follow him. When she chased her husband and hid in some bushes to avoid being discovered, her husband killed her thinking she was a wild animal. Frans Wouters was a Flemish Baroque painter who translated the monumental Baroque style of Peter Paul Rubens into the small context of cabinet paintings. He initially began as an apprentice to Pieter van Avont in Antwerp, but broke his contract to move to Rubens' workshop in 1634.He became a master in the Guild of St. Luke the following year. He spent the 1630s as court painter to the Holy Roman Emperor Ferdinand II. He was sent as Ferdinand II's ambassador to England in 1637. The following year, he became the painter to the Prince of Wales, the future Charles II of England. In England, Wouters would surely have had the opportunity to meet his compatriot Anthony van Dyck, who was at that time the court painter to Charles I of England. His style initially resembled the late mannerism of Joos de Momper and was later influenced by Rubens and, in particular, by Rubens' landscape paintings. After entering the service of Archduke Leopold William, Wouters' work showed the growing influence of Anthony van Dyck and the human figures in his paintings became elongated and emotionally expressive. He painted biblical scenes and mythological landscapes in this style.
Setdart Auction House
Dec. 19, 2024
FRANS WOUTERS (Lier, 1612- Antwerp, 1659). "Pyramus and Thisbe". Oil on copper. Presents faults. It has frame of the twentieth century.
Est: €2,500 - €3,000
FRANS WOUTERS (Lier, 1612- Antwerp, 1659). "Pyramus and Thisbe". Oil on copper. Presents faults. It has frame of the twentieth century. Measurements: 55 x 72 cm; 79.5 x 96 cm (frame). Pyramus and Thisbe is a mythological tale of two lovers who, unable to be together, were a great inspiration for Shakespeare's Romeo and Juliet. It is about a legendary pair of Babylonian lovers, whose story is part of Ovid's Metamorphoses. The parents of Pyramus and Thisbe, driven by rivalry, forbade their union, but they communicated through a crack in the wall between their houses. They planned to meet under a mulberry tree, but a series of tragic misunderstandings led to their deaths: Thisbe fled from a lioness, leaving behind her cloak, which Pyramus found and mistook for proof of her death. Believing that Thisbe had been killed by the lioness, Pyramus committed suicide, staining the mulberry trees with her blood. Thisbe, finding Pyramus dead, also committed suicide. The gods changed the color of the mulberry trees to honor their forbidden love. Frans Wouters who was a Flemish Baroque painter who translated the monumental Baroque style of Peter Paul Rubens into the small context of cabinet paintings. He initially began as an apprentice to Pieter van Avont in Antwerp, but broke his contract to move to Rubens' workshop in 1634.He became a master in the Guild of St. Luke the following year. He spent the 1630s as court painter to the Holy Roman Emperor Ferdinand II. He was sent as Ferdinand II's ambassador to England in 1637. The following year, he became the painter to the Prince of Wales, the future Charles II of England. In England, Wouters would surely have had the opportunity to meet his compatriot Anthony van Dyck, who was at that time the court painter to Charles I of England. His style initially resembled the late mannerism of Joos de Momper and was later influenced by Rubens and, in particular, by Rubens' landscape paintings. After entering the service of Archduke Leopold William, Wouters' work showed the growing influence of Anthony van Dyck and the human figures in his paintings became elongated and emotionally expressive. He painted biblical scenes and mythological landscapes in this style.
Setdart Auction House
Nov. 25, 2024
FRANS WOUTERS (Lier, 1612- Antwerp, 1659). "Cephalus and Procris". Oil on copper. Presents faults.
Est: €3,000 - €4,000
FRANS WOUTERS (Lier, 1612- Antwerp, 1659). "Cephalus and Procris". Oil on copper. Presents faults. Measurements: 55 x 72 cm; 79,5 x 96 cm (frame). In this work the mythological history of Cephalus and Procris is collected. Cephalus was married to Procris, a daughter of Erecteo. The goddess of dawn, Eos fell in love with him and kidnapped Cephalus while he was hunting. The resilient Cephalus and Eos became lovers, and she bore him a son named Phaethon (not to be confused with the son of the sun god Helios). Some sources also give Tithonos and Hesperus as sons of Cephalus and Eos. However, Cephalus always pined for Procris, which caused a disgruntled Eos to return him, making disparaging remarks about his wife's fidelity. Bribed by a golden crown, his wife admitted Pteleon into her bed and, being detected by Cephalus, fled to Minos. As for the image, the scene reflects the narration found in Ovid's Metamorphosis, specifically in book VII. Procris jealous of her husband, and sure of his infidelity decided to follow him. When she chased her husband and hid in some bushes to avoid being discovered, her husband killed her thinking she was a wild animal. Frans Wouters was a Flemish Baroque painter who translated the monumental Baroque style of Peter Paul Rubens into the small context of cabinet paintings. He initially began as an apprentice to Pieter van Avont in Antwerp, but broke his contract to move to Rubens' workshop in 1634.He became a master in the Guild of St. Luke the following year. He spent the 1630s as court painter to the Holy Roman Emperor Ferdinand II. He was sent as Ferdinand II's ambassador to England in 1637. The following year, he became the painter to the Prince of Wales, the future Charles II of England. In England, Wouters would surely have had the opportunity to meet his compatriot Anthony van Dyck, who was at that time the court painter to Charles I of England. His style initially resembled the late mannerism of Joos de Momper and was later influenced by Rubens and, in particular, by Rubens' landscape paintings. After entering the service of Archduke Leopold William, Wouters' work showed the growing influence of Anthony van Dyck and the human figures in his paintings became elongated and emotionally expressive. He painted biblical scenes and mythological landscapes in this style.
Setdart Auction House
Nov. 25, 2024
FRANS WOUTERS (Lier, 1612- Antwerp, 1659). "Pyramus and Thisbe". Oil on copper. Presents faults. It has frame of the twentieth century.
Est: €3,000 - €4,000
FRANS WOUTERS (Lier, 1612- Antwerp, 1659). "Pyramus and Thisbe". Oil on copper. Presents faults. It has frame of the twentieth century. Measurements: 55 x 72 cm; 79.5 x 96 cm (frame). Pyramus and Thisbe is a mythological tale of two lovers who, unable to be together, were a great inspiration for Shakespeare's Romeo and Juliet. It is about a legendary pair of Babylonian lovers, whose story is part of Ovid's Metamorphoses. The parents of Pyramus and Thisbe, driven by rivalry, forbade their union, but they communicated through a crack in the wall between their houses. They planned to meet under a mulberry tree, but a series of tragic misunderstandings led to their deaths: Thisbe fled from a lioness, leaving behind her cloak, which Pyramus found and mistook for proof of her death. Believing that Thisbe had been killed by the lioness, Pyramus committed suicide, staining the mulberry trees with her blood. Thisbe, finding Pyramus dead, also committed suicide. The gods changed the color of the mulberry trees to honor their forbidden love. Frans Wouters who was a Flemish Baroque painter who translated the monumental Baroque style of Peter Paul Rubens into the small context of cabinet paintings. He initially began as an apprentice to Pieter van Avont in Antwerp, but broke his contract to move to Rubens' workshop in 1634.He became a master in the Guild of St. Luke the following year. He spent the 1630s as court painter to the Holy Roman Emperor Ferdinand II. He was sent as Ferdinand II's ambassador to England in 1637. The following year, he became the painter to the Prince of Wales, the future Charles II of England. In England, Wouters would surely have had the opportunity to meet his compatriot Anthony van Dyck, who was at that time the court painter to Charles I of England. His style initially resembled the late mannerism of Joos de Momper and was later influenced by Rubens and, in particular, by Rubens' landscape paintings. After entering the service of Archduke Leopold William, Wouters' work showed the growing influence of Anthony van Dyck and the human figures in his paintings became elongated and emotionally expressive. He painted biblical scenes and mythological landscapes in this style.
Setdart Auction House
Sep. 25, 2024
FRANS WOUTERS (Lier, 1612- Antwerp, 1659). "Cephalus and Procris". Oil on copper. Presents faults.
Est: €5,000 - €6,000
FRANS WOUTERS (Lier, 1612- Antwerp, 1659). "Cephalus and Procris". Oil on copper. Presents faults. Measurements: 55 x 72 cm; 79,5 x 96 cm (frame). In this work the mythological history of Cephalus and Procris is collected. Cephalus was married to Procris, a daughter of Erecteo. The goddess of dawn, Eos fell in love with him and kidnapped Cephalus while he was hunting. The resilient Cephalus and Eos became lovers, and she bore him a son named Phaethon (not to be confused with the son of the sun god Helios). Some sources also give Tithonos and Hesperus as sons of Cephalus and Eos. However, Cephalus always pined for Procris, which caused a disgruntled Eos to return him, making disparaging remarks about his wife's fidelity. Bribed by a golden crown, his wife admitted Pteleon into her bed and, being detected by Cephalus, fled to Minos. As for the image, the scene reflects the narration found in Ovid's Metamorphosis, specifically in book VII. Procris jealous of her husband, and sure of his infidelity decided to follow him. When she chased her husband and hid in some bushes to avoid being discovered, her husband killed her thinking she was a wild animal. Frans Wouters was a Flemish Baroque painter who translated the monumental Baroque style of Peter Paul Rubens into the small context of cabinet paintings. He initially began as an apprentice to Pieter van Avont in Antwerp, but broke his contract to move to Rubens' workshop in 1634.He became a master in the Guild of St. Luke the following year. He spent the 1630s as court painter to the Holy Roman Emperor Ferdinand II. He was sent as Ferdinand II's ambassador to England in 1637. The following year, he became the painter to the Prince of Wales, the future Charles II of England. In England, Wouters would surely have had the opportunity to meet his compatriot Anthony van Dyck, who was at that time the court painter to Charles I of England. His style initially resembled the late mannerism of Joos de Momper and was later influenced by Rubens and, in particular, by Rubens' landscape paintings. After entering the service of Archduke Leopold William, Wouters' work showed the growing influence of Anthony van Dyck and the human figures in his paintings became elongated and emotionally expressive. He painted biblical scenes and mythological landscapes in this style.
Setdart Auction House
Sep. 25, 2024
FRANS WOUTERS (Lier, 1612- Antwerp, 1659). "Pyramus and Thisbe". Oil on copper. Presents faults. It has frame of the twentieth century.
Est: €5,000 - €6,000
FRANS WOUTERS (Lier, 1612- Antwerp, 1659). "Pyramus and Thisbe". Oil on copper. Presents faults. It has frame of the twentieth century. Measurements: 55 x 72 cm; 79.5 x 96 cm (frame). Pyramus and Thisbe is a mythological tale of two lovers who, unable to be together, were a great inspiration for Shakespeare's Romeo and Juliet. It is about a legendary pair of Babylonian lovers, whose story is part of Ovid's Metamorphoses. The parents of Pyramus and Thisbe, driven by rivalry, forbade their union, but they communicated through a crack in the wall between their houses. They planned to meet under a mulberry tree, but a series of tragic misunderstandings led to their deaths: Thisbe fled from a lioness, leaving behind her cloak, which Pyramus found and mistook for proof of her death. Believing that Thisbe had been killed by the lioness, Pyramus committed suicide, staining the mulberry trees with her blood. Thisbe, finding Pyramus dead, also committed suicide. The gods changed the color of the mulberry trees to honor their forbidden love. Frans Wouters who was a Flemish Baroque painter who translated the monumental Baroque style of Peter Paul Rubens into the small context of cabinet paintings. He initially began as an apprentice to Pieter van Avont in Antwerp, but broke his contract to move to Rubens' workshop in 1634.He became a master in the Guild of St. Luke the following year. He spent the 1630s as court painter to the Holy Roman Emperor Ferdinand II. He was sent as Ferdinand II's ambassador to England in 1637. The following year, he became the painter to the Prince of Wales, the future Charles II of England. In England, Wouters would surely have had the opportunity to meet his compatriot Anthony van Dyck, who was at that time the court painter to Charles I of England. His style initially resembled the late mannerism of Joos de Momper and was later influenced by Rubens and, in particular, by Rubens' landscape paintings. After entering the service of Archduke Leopold William, Wouters' work showed the growing influence of Anthony van Dyck and the human figures in his paintings became elongated and emotionally expressive. He painted biblical scenes and mythological landscapes in this style.
Setdart Auction House
May. 27, 2024
FRANS WOUTERS (attr. a)
Est: €2,600 - €3,200
(Lier, 1612 - Anversa, 1659) Allegro convivio Olio su tavola, cm 53X73 Pittore allievo di Pieter van Avont e Pietro Paolo Rubens, Wouters dipinse paesaggi e scene mitologiche con vivace spirito decorativo e una sapiente tecnica, impiegando raffinate stesure. La sua abilità nel dipingere figure gli valse di intervenire in qualità di specialista in opere di Jan Brueghel il Vecchio, David Vinckboons, Lucas van Uden, Jan Wildens e Jacques d'Arthois, riuscendo a dare un'eccellente uniformità compositiva dei personaggi in rapporto ai paesaggi, sebbene lui stesso non manchi di qualità in questo specifico genere. La tavola in esame evidenzia come l'artista sia stato influenzato anche dal colore d'ascendenza tizianesca diffusa da Van Dyck, con esiti italianizzanti che gli permisero di riscuotere un eccellente successo durante il soggiorno londinese tra il 1637 e il 1641 al servizio del principe di Galles. Bibliografia di riferimento: C. Kemmer, Betrachtungen zum Werk von Frans Wouters, insbesondere zu seinem Gemälde Jupiter und Callisto, Jaarboek Koninklijk Museum voor Schone Kunsten Antwerpen 1995, pp. 195-241
Wannenes Art Auctions
Apr. 16, 2024
Entourage de Frans Wouters (Lier 1612-1659 Anvers) Le repos durant la fuite en Egypte
Est: €2,000 - €3,000
Entourage de Frans Wouters (Lier 1612-1659 Anvers) Le repos durant la fuite en Egypte huile sur toile oil on canvas 55.1 x 94.4cm (21 11/16 x 37 3/16in).
Bonhams
Nov. 22, 2023
Attribué à Frans WOUTERS Lierre, 1612 - Anvers, 1659 Diane découvrant la grossesse de Calypso Huile sur panneau de chêne, parqueté
Est: €10,000 - €15,000
Attribué à Frans WOUTERS Lierre, 1612 - Anvers, 1659 Diane découvrant la grossesse de Calypso Huile sur panneau de chêne, parqueté (Soulèvements et petits manques, restaurations) Diana discovering the pregnancy of Calypso, oil on oak panel, attr. to F. Wouters h: 53 w: 82 cm Provenance : Probablement vente anonyme ; Angers, Me Martin, décembre 1975 ; Collection particulière, Paris Estimation 10 000 - 15 000 €
Artcurial
Nov. 22, 2023
Frans WOUTERS Lierre, 1612 - Anvers, 1659 Le sanglier de Calydon Huile sur toile
Est: €20,000 - €30,000
Frans WOUTERS Lierre, 1612 - Anvers, 1659 Le sanglier de Calydon Huile sur toile Monogrammée 'FW' en bas à droite sur le flanc du chien The Calydonian boar, oil on canvas, monogrammed, by F. Wouters h: 132 w: 198 cm Provenance : Chez Eric Turquin, Paris, vers 2020 Commentaire : Elève de Pieter van Avont en 1629, Frans Wouters débute son parcours dans l'atelier de Peter-Paul Rubens en 1634. Reçu maître de la Guilde de Saint-Luc d'Anvers en 1635, il reçoit des commandes de l'empereur Ferdinand II qui l'envoie comme ambassadeur en Angleterre, à la cour de Charles Ier. Nommé " peintre du prince de Galles ", le futur Charles II, il rencontre Van Dyck avant de revenir à Anvers en 1641. Wouters était très recherché par les amateurs de son temps pour ses scènes mythologiques. Le sujet de cette chasse antique, qu'on trouve déjà sur des vases grecs, était très populaire au XVIIe siècle. Il a été illustré par plusieurs peintres, dont Rubens (Los Angeles, Getty Museum) et Poussin (Madrid, musée du Prado). Lors des fêtes des Thalysies, Oenée, roi de Calydon (cité d'Etolie en Grèce occidentale), avait offert des sacrifices à plusieurs dieux afin de les remercier de la fertilité de sa terre, mais avait oublié de remercier la déesse Artémis. Pour le punir, celle-ci envoya un sanglier monstrueux sur les terres du roi, décrit par Homère et par Ovide. Pour débarrasser la région de ce fléau, un groupe de héros mené par Méléagre, fils du roi Oenée, partit à la poursuite de l'animal pour le tuer. Parmi eux, on comptait par exemple Thésée, Pelée, Castor et Pollux, Jason ou encore Amphiarios. Méléagre est ici représenté au centre, vêtu de blanc, tandis que la guerrière Atalante, avec un arc, en robe jaune, se tient devant lui. Au sol git l'un des valeureux chasseurs blessés lors de cette battue. Le tableau nous charme par son paysage et par l'effet de lumière donné par le soleil derrière la masse d'arbres à gauche qui illumine indirectement la scène. Estimation 20 000 - 30 000 €
Artcurial
Oct. 03, 2023
Frans Wouters (1612-1659) Dutch or Flemish School …
Est: €300 - €500
Frans Wouters (1612-1659) Dutch or Flemish School (17th century), The Temple of Sibille at tivoli, ink wash on paper, 23,6 x 39,4 cm -Provenance: Collection William Esdaile, collection stamp on the mount l.r. and numbered l.l. 154.2-
Veilinghuis Van Spengen
Sep. 28, 2023
Frans Wouters, 1612/14 Lier – 1659 Antwerpen
Est: €7,000 - €9,000
TANZENDE UND RAUFENDE BAUERN Öl auf Kupfer. Parkettiert. 25,5 x 34 cm. Verso mit Fragmenten alter Etiketten. In ebonisiertem Profilrahmen. Beigegeben ein Gutachten von Dr. Klaus Ertz, Lingen, vom 18. Mai 2023. Auf einer baumbestandenen Anhöhe einer hügeligen Landschaft sind mehrere Bauern im Tanz begriffen, der von einem Dudelsackspieler provoziert wird. Links im Vordergrund ein Paar im Streit. Anmerkung: Das vorliegende Gemälde erinnert zum Beispiel an ein Bacchanal, das bei Sotheby‘s in London am 2. November 2000 unter Lot 51 als Frans Wouters angeboten worden ist. Auch das Gemälde von Wouters im Kunsthistorischen Museum in Wien mit der Inv.Nr. 1718 lässt sich gut aufgrund der tänzelnden Figuren vergleichen. (13715031) (13)
Hampel Fine Art Auctions
Jun. 29, 2023
Frans Wouters, 1612/14 Lier – 1659 Antwerpen
Est: €9,000 - €12,000
TANZENDE UND RAUFENDE BAUERN Öl auf Kupfer. Parkettiert. 25,5 x 34 cm. Verso mit Fragmenten alter Etiketten. In ebonisiertem Profilrahmen. Beigegeben ein Gutachten von Dr. Klaus Ertz, Lingen. Auf einer baumbestandenen Anhöhe einer hügeligen Landschaft sind mehrere Bauern im Tanz begriffen, der von einem Dudelsackspieler provoziert wird. Links im Vordergrund ein Paar im Streit. Anmerkung: Das vorliegende Gemälde erinnert zum Beispiel an ein Bacchanal, das bei Sotheby‘s in London am 2. November 2000 unter Lot 51 als Frans Wouters angeboten worden ist. Auch das Gemälde von Wouters im Kunsthistorischen Museum in Wien mit der Inv.Nr. 1718 lässt sich gut aufgrund der tänzelnden Figuren vergleichen. (13621210) (13)
Hampel Fine Art Auctions
May. 24, 2023
WOUTERS FRANS (LIER 1612-ANVERS 1659) - HUILE SUR PANNEAU DE CHÊNE PARQUETÉ "LE REPOS DE DIANE ET DE
Est: €1,800 - €2,200
Huile sur panneau de chêne parqueté "Le repos de Diane et des nymphes après la chasse". Entourage de Frans Wouters. Ecole flamande. Epoque: XVIIème. Dim.:+/-43,5x61cm.
Vanderkindere
Apr. 29, 2023
Frans Wouters (Lier 1612-1659 Antwerp), Vertumnus and Pomona
Est: €5,000 - €10,000
Frans Wouters was a pupil of Peter Paul Rubens. From 1636 to 1637 he was at the court of Emperor Ferdinand II, then from 1637 to 1641 he became court painter to the Prince of Wales. He mainly painted landscapes with scenes from ancient mythology. The story presented here is told by Ovid in Metamorphoses (14, 623-696). Pomona, the goddess of fruit trees and gardening, did not want to marry and did not allow any man into her garden. The god Vertumnus therefore transformed himself into an old woman to persuade Pomona to marry a man and recommend Vertumnus to her. After he convinces Pomona, he transforms back into his true form. Pomona is seated in red robes under two trees to right. She holds a sickle in her left hand and placed her right on the shoulder of the old woman, the transformed Vertumnus. The old woman occupies an unusual position on the ground for her age, as Vertumnus, despite the transformation, cannot hide his desire. He had already placed his hand on Pomona's leg. Pomona looks at him touched, he looks at her lovingly. Amor leaves the scene and looks around. He did his job successfully. Dark trees tower are behind Pomona. The two trunks are intertwined around each other to indicate the connection between Vertumn and Pomona. On the left, Pomona's garden stretches under the Baroque palace. This theme was very popular in the 17th century.
Fine Antiques Prague s.r.o.
Mar. 14, 2023
Frans Wouters (Lier 1612-1659 Antwerp), Vertumnus and Pomona
Est: €9,000 - €11,000
Frans Wouters was a pupil of Peter Paul Rubens. From 1636 to 1637 he was at the court of Emperor Ferdinand II, then from 1637 to 1641 he became court painter to the Prince of Wales. He mainly painted landscapes with scenes from ancient mythology. The story presented here is told by Ovid in Metamorphoses (14, 623-696). Pomona, the goddess of fruit trees and gardening, did not want to marry and did not allow any man into her garden. The god Vertumnus therefore transformed himself into an old woman to persuade Pomona to marry a man and recommend Vertumnus to her. After he convinces Pomona, he transforms back into his true form. Pomona is seated in red robes under two trees to right. She holds a sickle in her left hand and placed her right on the shoulder of the old woman, the transformed Vertumnus. The old woman occupies an unusual position on the ground for her age, as Vertumnus, despite the transformation, cannot hide his desire. He had already placed his hand on Pomona's leg. Pomona looks at him touched, he looks at her lovingly. Amor leaves the scene and looks around. He did his job successfully. Dark trees tower are behind Pomona. The two trunks are intertwined around each other to indicate the connection between Vertumn and Pomona. On the left, Pomona's garden stretches under the Baroque palace. This theme was very popular in the 17th century.
Fine Antiques Prague s.r.o.
Feb. 28, 2023
Frans Wouters (1612-1659) Fête champêtre in een Italiaans landschap, gesigneerd r.o., olieverf op do
Est: €2,000 - €4,000
Frans Wouters (1612-1659) Fête champêtre in een Italiaans landschap, gesigneerd r.o., olieverf op doek, 82x116 cm - herkomst: Christie's Londen, 20 maart 1959, lot 28 -
Veilinghuis Van Spengen
Feb. 05, 2023
Attri Frans Wouters (Flemish, 1614 - 1659)
Est: $10,000 - $15,000
Attributed Frans Wouters (Flemish, 1614 - 1659) Oil on Board. Appears to be unsigned. Horizontal crack repair to board Sight Size: 20.5 x 27.25 in. Overall Framed Size: 28.25 x 35 in.
Helmuth Stone
Nov. 23, 2022
Wouters Frans ambito di, Compianto sul Cristo morto
Est: €1,500 - €2,000
olio su tela, W. 62 - H. 76 Cm
Cambi Casa d'Aste
Sep. 10, 2022
FRANS WOUTERS (ATTR.) HEILIGE FAMILIE MIT ENGEL UND JOHANNESKNABEN
Est: €800 - €1,600
ATTRIBUTED TO FRANS WOUTERS 02.10.1612 Lierre - 1659 Antwerp HOLY FAMILY WITH ANGEL AND INFANT SAINT JOHN THE BAPTIST Oil on copper plate. 16,5 x 20 cm (F. 29 x 32 cm). Part. min. old rest. Frame. An almost identical and monogrammed but slightly weaker version of the present composition by Frans Wouter was auctioned by Sotheby's New York from 16 to 23 March 2021, lot no. 6, 'The Holy Family with an angel and an infant Saint John the Baptist'. Baptist'. Provenance: European collection.Zeichen(10)FRANS WOUTERS (ATTR.) 02.10.1612 Lierre - 1659 Antwerpen HEILIGE FAMILIE MIT ENGEL UND JOHANNESKNABEN Öl auf Kupfertafel. 16,5 x 20 cm (R. 29 x 32 cm). Part. min. altrest. Rahmen. Eine nahezu identische und monogrammierte, aber leicht schwächere Version der hier vorliegenden Komposition Frans Wouters versteigerte Sotheby's New York vom 16. bis 23. März 2021, Lot Nr. 6, 'The Holy Family with an angel and an infant Saint John the Baptist'. Provenienz: Europäischer Sammlungsbesitz.
Hargesheimer Kunstauktionen Düsseldorf
Jun. 09, 2022
FRANS WOUTERS
Est: €2,000 - €3,000
(Lierre, 1612 - Anversa, 1659) Satiri e ninfe Olio su rame, cm 45X62,5 Pittore allievo di Pieter van Avont e Pietro Paolo Rubens, Wouters dipinse paesaggi e scene mitologiche con vivace spirito decorativo e una sapiente tecnica impiegando raffinate stesure. La sua abilità nel dipingere figure gli valse di intervenire in qualità di specialista in opere di Jan Brueghel il Vecchio, David Vinckboons, Lucas van Uden, Jan Wildens e Jacques d'Arthois, riuscendo a dare una eccellente uniformità compositiva dei personaggi in rapporto ai paesaggi, sebbene lui stesso non mancasse di qualità in questo specifico genere. Il rame in esame evidenzia come l'artista sia stato altresì influenzato dal colore d'ascendenza tizianesca diffusa da Van Dyck, con esiti italianizzanti che gli permisero di riscuotere un eccellente successo durante il soggiorno londinese tra il 1637 e il 1641 al servizio del principe di Galles. Bibliografia di riferimento: C. Kemmer, Betrachtungen zum Werk von Frans Wouters, insbesondere zu seinem Gemälde Jupiter und Callisto, Jaarboek Koninklijk Museum voor Schone Kunsten Antwerpen 1995, pp. 195-241
Wannenes Art Auctions
Dec. 06, 2021
FRANS WOUTERS (ANTWERP, 1612-1659)
Est: €6,000 - €8,000
Frans Wouters (Antwerp, 1612-1659) The Triumph of Silenius Oak panel, two planks, reinforced Bears an English sale number: "VL600" Tag with the number "787" Provenance: Anonymous sale, London, Christie's, 13 July 1979, n° 99 (Frans Wouters and Lucas van Uden). Expert: Cabinet Turquin Chips. H : 36 cm Width : 50 cm
Haynault
Nov. 27, 2021
Frans Wouters (Lierre vor 1612 - Antwerpen 1659), attr. Diana and her Nymphs.
Est: -
Oil/canvas, 77,5 x 113 cm, some rest., relined. - Flemish history painter. W. was pupil of P. van Avont and of Rubens. In 1634 he became master of the Antwerp painter's guild. In 1636 he worked at the imperial court in Vienna and that same year went to London and was made painter of the prince of Wales. In 1641 he returned to Antwerp. Mus.: Vienna (Kunsthist. Mus.), London, Copenhagen, Würzburg a. others. Lit.: Thieme-Becker, Bernt.
Auktionshaus Stahl
Jun. 24, 2021
Frans Wouters, 1612/14 Lier – 1659 Antwerpen, zug.
Est: €2,000 - €4,000
DIE ANBETUNG DER HIRTEN Öl auf Kupfer. 40 x 30 cm. In vergoldetem Rahmen. Vor dem Eingang zu einem großen hölzernen Stall Maria in rot-blauer Gewandung, vor sich auf einem weißen Laken, das auf dem Stroh einer Krippe liegt, das nackte Jesuskind. Maria hält mit den zarten Fingern ihrer Hände ein weißes Tuch gerade nach oben, mit dem das Kind bedeckt war. Vor ihr ein Hirte, der seinen Hut zur Seite gelegt hat, neben dem auch ein kleines Schaf liegt, und der seine Hände zum Gebet gefaltet und das strahlende Jesuskind ehrfurchtsvoll anblickt. Hinter ihm ein weiterer Mann und eine junge Frau, die einen Krug auf ihrem Kopf hält, im Gespräch mit dem Maria zur Seite stehenden Josef. Am linken Bildrand ein Kind, das sich an seine stehende Mutter wendet und ein weiterer Hirte mit seinem angeleinten Hund. Oben links reißt die nächtliche Himmelsdecke auf und in einem strahlenden gelben Lichtschein, der auf Jesus und Maria weist, sind mehrere kleine Engel zu erkennen. Das Licht hat die Hirten schließlich zur Krippe geführt. Das hier dargestellte Thema geht auf die Weihnachtsgeschichte im Lukasevangelium zurück. In dieser nächtlichen Darstellung wird besonders der helle Lichtschein im Himmel und das, das neugeborene Jesuskind umgebende Licht in den Mittelpunkt gestellt. (12713628) (18)
Hampel Fine Art Auctions
Jun. 16, 2021
Frans Wouters (Lier 1612 - Anversa 1659), Scena biblica
Est: €3,000 - €4,000
olio su tavola, cm 83x120
Cambi Casa d'Aste
Feb. 20, 2021
Brueghel, Jan d.J. (1601 - 1678) und Wouters, Frans (1612 - 1659), ''Allegorie der Zwietracht'', Öl auf Holz
Est: -
Brueghel, Jan d.J. (Antwerpen 1601-1678 ebenda) und Wouters, Frans (Lierre 1612 - 1659 Antwerpen), ''Allegorie der Zwietracht'', Öl auf Holz, 58 x 89 cm, verso abgeschliffen und parkettiert, kleine Farbabsprünge. Anbei Kurz-Gutachten Dr. Klaus Ertz, Lingen 19. Dezember 2020. Das Gemälde wurde individuell mit dem Datenbestand des Art Loss Register abgeglichen; es ist dort nicht als gestohlen oder vermisst registriert. Provenienz: aus Jahrzehnte altem Privatbesitz. In der eigenständigen Komposition Jan Brueghels d.J. scheint die ganze Welt bedroht - Waffen, unheilvolle Tiere, medizinische Instrumente sowie schauerliche Kriegsszenen mit brennenden Städten künden von den Kriegswirren der Frühen Neuzeit. Die Allegorie, die der Version in Altenburg (Vgl. Ertz, Kat. 228) sehr ähnlich ist, spielt gleichwohl auf die Gefühlssinne an. Während raufende Putten Streit und Zwietracht symbolisieren, verkörpern Venus und Amor in inniger Umarmung menschliche Liebe und gegenseitige Zuneigung (vgl. Ertz, S.51, 69-70). Bei den Figuren bediente sich Jan Brueghel d.J. der Mitarbeit des befreundeten Figurenmalers Frans Wouters. Literatur: Ertz, K., Jan Brueghel d.J., die Gemälde mit kritischem Oeuvrekatalog, Flämische Maler im Umkreis der großen Meister, Band 1, Freren 1984.
Auktionshaus Plückbaum
Dec. 10, 2020
FRANS WOUTERS (1612-1659), attribué Le Jardin d'Amour
Est: €5,000 - €10,000
FRANS WOUTERS (1612-1659), attribué Le Jardin d'Amour Huile sur panneau. Usures et manques. Collection privée, Bruxelles. Dimensions : 48,5 x 64 cm Cette composition d'un format de cabinet fait référence à une création monumentale sur toile de Rubens et qui est conservée au Musée du Prado à Madrid. Dans notre version, Wouters à réduit volontairement le nombre de personnages représentés afin d'en améliorer la visibilité de l'ensemble. Peintre et négociant flamand né à Lierre, il est l'élève de Pierre Paul Rubens en 1634 et dès l'année suivante, il est admis comme maître dans la Guilde de Saint-Luc. Il est alors nommé peintre de l'Empereur Ferdinand II puis peintre et premier valet de chambre du Prince de Galles, futur Charles II. Nommé directeur de l'Académie d'Anvers à son retour, il sera tué d'un coup de pistolet par un inconnu. Frans Wouters cultive le genre historique et les paysages, ses dernières oeuvres montrant une influence croissante de Van Dyck.
Accademia Fine Art
Nov. 28, 2020
Frans Wouters (Lierre vor 1612 - Antwerpen 1659), in the manner of. Drunken Silenus.
Est: -
Probably 18th cent., Oil/cardboard/wood, 60 x 44 cm, lo. ri. fragment of an inscription P.P.R., retouchings. - Flemish history painter. W. was pupil of P. van Avont and of Rubens. In 1634 he became master of the Antwerp painter's guild. In 1636 he worked at the imperial court in Vienna and that same year went to London and was made painter of the prince of Wales. In 1641 he returned to Antwerp. Mus.: Vienna (Kunsthist. Mus.), London, Copenhagen, Würzburg a. others. Lit.: Thieme-Becker, Bernt.
Auktionshaus Stahl
Oct. 06, 2020
Frans Wouters, follower (1612 - 1659), Diana's Return from the Hunt
Est: zł30,000 - zł40,000
oil/lined canvas, 77 x 113 cm
Desa Unicum SA
Jun. 20, 2020
Wouters, Frans (1612 Lierre - 1659 Antwerpen), Umkreis
Est: -
Wouters, Frans (1612 Lierre - 1659 Antwerpen), Umkreis, ''Muttergottes mit Kind'', in einer Höhle mit Alpenveilchen sitzend, Öl auf Kupfer, 22.5 x 17 cm, verschmutzt, kleine Stellen mit Farbverlust, Oberfläche uneben
Auktionshaus Plückbaum
Jun. 09, 2020
Frans Wouters
Est: €8,000 - €12,000
Please note the exact Buyer’s Premium charges which can be found in the Conditions of Sale in the Terms below. (Lier 1612–1659 Antwerp) Meleager and Atalanta hunting the Calydonian boar, oil on canvas, 77.5 x 118.5 cm, framed
Dorotheum
Jun. 09, 2020
Frans Wouters
Est: €15,000 - €20,000
Please note the exact Buyer’s Premium charges which can be found in the Conditions of Sale in the Terms below. (Lier 1612–1659 Antwerp) King Solomon and the Queen of Sheba, oil on canvas, 109 x 173.5 cm, framed We are grateful to Klaus Ertz for confirming the present painting as an autograph work by Frans Wouters (written certificate December 2018 in photocopy). He dates it to circa 1635.
Dorotheum
Feb. 04, 2020
Attribué à Frans WOUTERS Anvers, 1612 - 1659 Ascagne abattant le cerf de Silvia, d'après Pierre-Paul Rubens Huile sur panneau de chê..
Est: €4,000 - €6,000
Attribué à Frans WOUTERS Anvers, 1612 - 1659 Ascagne abattant le cerf de Silvia, d'après Pierre-Paul Rubens Huile sur panneau de chêne, doublé et parqueté h: 61 w: 102 cm Commentaire : D'après une composition de Rubens dont l'esquisse est conservée au Philadelphia Museum of Art. Tiré de l'Enéide de Virgile, cet épisode rarement représenté illustre la mort d'un cerf qui avait été apprivoisé par Silvia, fille de Thyrrus, l'un des seigneurs du Latium. Il est blessé par le troyen Ascagne lors d'une chasse et trouve refuge chez ses protecteurs avant de mourir. Les frères de Silvia attaquent Ascagne et ses compagnons et cet incident sera l'une des causes de la guerre entre les Troyens et les Rutules. Estimation 4 000 - 6 000 €
Artcurial
Sep. 14, 2019
Frans Wouters (1612/14 - 1659) - The Martyrdom of Livinus of Ghent
Est: Kč220,000 - Kč290,000
Oil on canvas. Flemish painter Frans Wouters was one of the major collaborators of Peter Paul Rubens and transformed his monumental creations into a small format cabinet painting. He was court painter of Holy Roman Emperor Ferdinand II and the Prince of Wales (the future King) Charles II. He also served as an ambassador and art dealer, and in 1635 became a master of the Guild of St. Luke. Wouters’ style and thematic focus reflect the tastes of his international aristocratic clients, who preferred smaller formats and decorative landscapes and mythological scenes. The painting is a cabinet version of a large Rubens painting from 1633, which originally decorated the high altar of the Jesuit church in Ghent and is now located in the collection of the Musées Royeaux des Beaux-Arts in Brussels. (expert opinion: Dr. Klaus Ertz, Lingen)
Arcimboldo Auctions
Jul. 10, 2019
FRANS WOUTERS (LIER 1612 - AMBERES 1659). Su taller (artista masculino). Diana dormida.
Est: €1,800 - €1,950
Óleo sobre cobre 51x64 cm.
Balclis
Mar. 14, 2019
FRANS WOUTERS (LIER 1612 - ANTWERP 1659). His studio. Sleeping Diana.
Est: €2,500 - €3,100
Oil on copper 51x64 cm.
Balclis
Feb. 12, 2019
Attribué à Frans WOUTERS Anvers, 1612 - 1659 Ascagne abattant le cerf de Silvia, d'après Pierre-Paul Rubens Huile sur panneau de chê...
Est: €6,000 - €8,000
Attribué à Frans WOUTERS Anvers, 1612 - 1659 Ascagne abattant le cerf de Silvia, d''après Pierre-Paul Rubens Huile sur panneau de chêne, doublé et parqueté h: 61 w: 102 cm Commentaire : D''après une composition de Rubens dont l''esquisse est conservée au Philadelphia Museum of Art. Tiré de l''Enéide de Virgile, cet épisode rarement représenté illustre la mort d''un cerf qui avait été apprivoisé par Silvia, fille de Thyrrus, l''un des seigneurs du Latium. Il est blessé par le troyen Ascagne lors d''une chasse et trouve refuge chez ses protecteurs avant de mourir. Les frères de Silvia attaquent Ascagne et ses compagnons et cet incident sera l''une des causes de la guerre entre les Troyens et les Rutules.
Artcurial
Nov. 21, 2018
Attributed to Frans Wouters (1612-1659)
Est: €1,000 - €1,500
Adam and Eve, oil on canvas, 28x22 cm Provenance: -With Brian Koetser Gallery, London, by 1973.
Venduehuis der Notarissen
Nov. 14, 2018
Frans Wouters (Lier, 1612 - Antwerp, 1659)
Est: €9,000 - €12,000
Frans Wouters (Lier, 1612 - Antwerp, 1659) Descent from the Cross with a fransiscan saint Oil on copper, cm. 55x72. Framed The painting is accompanied by an expertise by Dr. Didier Bodart.
Bertolami Fine Art s.r.l.
Oct. 24, 2018
Workshop of Frans Wouters, Sleeping Diana, Oil on copper
Est: €3,500 - €4,500
Workshop of Frans Wouters Lier 1612- Antwerp 1659 Sleeping Diana Oil on copper 51x64
Balclis
May. 30, 2018
Frans Wouters (1614-1659), attribuito a, Paesaggio con viandanti
Est: €3,500 - €4,000
olio su tela, cm 105x127
Cambi Casa d'Aste
May. 30, 2018
Attributed to Frans Wouters (1612-1659)
Est: €1,500 - €2,000
Adam and Eve, oil on canvas, 28x22 cm Provenance: -With Brian Koetser Gallery, London, by 1973.
Venduehuis der Notarissen
Mar. 20, 2018
Attributed to WOUTERS, FRANS
Est: CHF4,000 - CHF6,000
Attributed to WOUTERS, FRANS (Lierre 1612 - 1659 Antwerp) Latona and the Lycian peasants Oil on copper. 58.5 x 77.2 cm. Provenance: Swiss private collection. --------------- WOUTERS, FRANS (ZUGESCHRIEBEN) (Lierre 1612 - 1659 Antwerpen) Latona und die Lykischen Bauern. Öl auf Kupfer. 58,5 x 77,2 cm. Provenienz: Schweizer Privatbesitz. Mit ihren Kindern Artemis und Apollon auf der Flucht vor der eifersüchtigen Hera wollte Latona, eine Geliebte des Zeus, an einem See in Lykien trinken. Als die Lykischen Bauern es ihr verboten, verwandelte sie diese in Frösche. Später suchten Apollon und Artemis alle Dörfer auf, die ihrer Mutter die Zuflucht verwehrt hatten und stellten deren Einwohner zur Rede. Aus stilistischen Gründen kann davon ausgegangen werden, dass dieses Gemälde von einem Künstler stammt, der mit Arbeiten aus der Werkstatt Peter Paul Rubens (1577-1640) vertraut war und sich davon inspirieren liess, möglicherweise Frans Wouters (1612-1659). Eine Zuschreibung an Victor Wolfvoet (1612-1652) kann ebenfalls in Betracht gezogen werden.
Koller Auctions
Oct. 30, 2017
FRANS WOUTERS, AFTER SIR PETER PAUL RUBENS | The Sacrifice of the Old Covenant
Est: £3,000 - £4,000
with painted inventory number on the reverse: ' 68' oil on oak panel, unframed A copy, with some variations, after the modello by Rubens (Museum of Fine Arts, Boston; acc. no. 1985.839) for a large canvas, destroyed by fire in 1731, which was used as a cartoon for a tapestry in the cycle known as The Triumph of the Eucharist (Convent of the Descalzas Reales, Madrid).1 A modello is a preparatory study, usually on a smaller scale, for a work of art or architecture. Rubens' modelli in particular have been perennially prized for their freedom of execution in the expression of his ideas, and were widely copied by his pupils and contemporaries. The present painting in fact has much in common with an early version of the composition by Matthijs van den Bergh, signed and dated 1637. We are grateful to Dr. Bert Schepers of the Rubenianum, Antwerp, for suggesting the attribution to Frans Wouters on the basis of a photograph. Wouters worked in Rubens' studio and produced a number of copies after the work of his master and that of the other great contemporary Antwerp painter, Sir Anthony Van Dyck. 1. See N. de Poorter, 'Corpus Rubenianum Ludwig Burchard. The Eucharist Series', II, London and Philadelphia 1978, vol. I, pp. 307-15 and 316-19, cat. nos 10 and 10b, reproduced vol. II, figs 144 and 146.
Sotheby's
Mar. 24, 2017
Frans WOUTERS (1612 ou 1614-1659),
Est: €12,000 - €14,000
Frans WOUTERS (1612 ou 1614-1659), école flamande du XVIIe siècle Paysage Toile. 103,5 x 148 cm Cadre en bois sculpté ancien.
Collin du Bocage
Feb. 22, 2017
WOUTERS Frans (Lier 1612-Anvers 1659) Huile sur panneau de chêne parqu
Est: €700 - €1,000
WOUTERS Frans (Lier 1612-Anvers 1659) Huile sur panneau de chêne parqueté "Le mariage mystique de Sainte Catherine". Signé en bas à droite F. Wouters. Ecole flamande. Dim.:57.5x87.5cm.
Vanderkindere