Unknown

Orpheus Enchanting The Animals, 17th Century Circle of Cornelis Saftleven

Hero And Leander, 17th Century Studio of DAVID II TENIERS (1610-1690) Large 17th century Dutch Old Master classical scene of Hero and Leander, oil on canvas. Excellent quality an...

King Solomon Worshipping The Idols, 17th Century FRANS FRANCKEN II (1581-1642) - signed sales to $6,000,000 Large 17th Century biblical account of King Solomon worshipping the Idols, oil on panel Frans Francken. Excellent quality and condition Old Testament biblical scene on a cradled panel depicting the Idolatry of Solomon, son and successor of King David. Exceptional detail and would be enhanced with a light clean. Presented in an antique period frame. Signed. Measurements: 47" x 34" framed approx Artist Biography Frans Francken II or the Younger is the third in order of descent in the Francken family tree. Born in 1581, the son of Frans Francken I or the Elder, he was the brother of Thomas, born in 1574, of Hieronymous II, born in 1578 and died in 1623, and of Ambrosius II, the last in line, who died in 1632. Hieronymous II, who died at the age of 56, is only known for his painting Horatius Cocles at Sublicius Bridge. Frans the Younger was initially a pupil of his father, who was then at the height of his career. In his father's studio he imbibed all the teaching of the tradition of Frans Floris. He also spent long periods in Italy, where he familiarised himself in particular with the masters of the Venetian school. Such study in situ enabled him to break away from the well-worn methods of Flemish Italianism, as practised by his father and uncles. It is conceivable that the young artist met Rubens, who was in Italy at the time. In 1605, at the age of 24, on his return to Antwerp, Frans the Younger became a master in the Antwerp Guild of St Luke. In 1607 he married Elisabeth Placquet in Antwerp. Three sons and eight daughters resulted from this marriage. His children made up the fourth generation in the dynasty. Better known are Frans III (1607-1667) and Hieronymus, born in 1611. The latter had a son, Constantinus (1661-1717), who marks the end of the line. The family of Francken painters runs from 1520 to 1717. As one of the most active masters in Antwerp, Frans II was appointed dean of the guild in 1614. He was also a member of the Violette, a major literary association, for which he painted an award-winning symbolic coat of arms. He was intimate with the most celebrated artists, in particular van Dyck, who executed a very fine portrait of him, judging by the engraving by Willem Hondius and Pieter de Jode. It is also likely that he was on familiar terms with Rubens who was his near contemporary. He died in Antwerp on 6 May 1642 at the age of 61, outlived by both Rubens and van Dyck. The first securely dated work of Frans the Younger is Christ on the Cross from the gallery in Vienna, painted in 1606. Witches' Sabbath (Vienna) and The Works of Mercy (Antwerp) are dated 1607 and 1608 respectively. In these two latter works the painter proves himself adept at painting figures and allegorical scenes. The Works of Mercy represents various groups of figures, symbolising the different activities inspired by Christian charity. Paupers and beggars occupy the foreground, the ensemble being dominated by the figure of the glorious Christ. While Frans the Younger cannot be compared with the masters of this great first generation of Antwerp, which was illuminated and steered by the genius of Rubens, he does nevertheless merit attention. He succeeded in developing and bringing into fashion an anecdotal genre on a more modest scale, elements of which were to inform the last representatives of the Francken family for over a century. Frans the Younger was undoubtedly the most talented draughtsman in the family. While his art may be criticised for its lack of grandeur and solemnity, the execution shows great talent. His brush stroke was vigorous and his imagination, albeit restrained, was brilliant. His interest in tonal values was highlighted by his study and appreciation of his remarkable contemporaries. This enabled him to carry out landscapes and also fleshy figures, which made him altogether worthy of the brilliant period to which he belonged. While detail certainly preoccupied him, he treated it with intelligence and even esprit, as witnessed in The Parable of the Prodigal Son and A Prince's Visit to the Treasury of a Church(both in the Louvre). The scenes painted in grisaille, which surround the principal motif of the Prodigal Son, are characteristic of his style. He excelled in painting jewellery, ornaments, and textiles with shot silk effects. A large number of his figures inhabit the neutral backgrounds of the interiors of apartments and galleries. He carried out such work not only under his own auspices, but also for other artists, such as Peeter Neeffs, van Bassen, Josse de Momper...

Flemish school, 17th century Orpheus and the animals Oil on canvas, 146,5 x 217 cm Provenance: South German private collection. On an impressive, room-filling format, this painting depicts "Orpheus and the Animals." The harp-playing Orpheus sits centrally in front of a tree whose trunk bifurcates above his head. This central tree frames with its crown the scenery towards the horizon and at the same time offers through branches the possibility for many birds to find space. The left half of the picture is characterized by a seascape, at the edge of which the ruins of a castle can be seen deep in the background. This seascape, framed by mountains on the horizon, is the only area where sky can be seen. On this side, waterfowl such as storks, swans and ducks can be seen. In the right half, the viewer looks into a deep European forest. On this right side, more land animals can be found, such as deer, rabbits and lions, among others. Orpheus wears opulent red and gold trimmed clothing, under his blue breastplate we see a white shirt. His feet are adorned by elaborate sandals. His head is surrounded by a radiant laurel wreath ("poeta laureatus"). The young man is clearly identifiable as the singer and poet of Greek mythology, Orpheus, by his harp, the laurel wreath and the animals surrounding him. Orpheus was one of the Argonauts who, under Jason, was searching for the Golden Fleece. He sang so beautifully that he even conquered the angry sea and enemies by the magic of his lyre. During the journey, Orpheus is said to have drowned out even the sirens with his singing. It is said that he was the greatest of all poets and charmed people, animals, stones and trees with his singing. In total, 51 birds and 37 different species are depicted in the painting. The animals are mostly depicted in great detail and, except for a few, can be identified. Mainly European species of animals are shown. Exceptions are the ostrich-like nandu peeking out from behind the deer, as well as the large parrot on the upper left, and the two lions. Similar is the case for the large animal directly behind Orpheus on the right. The shape of the head suggests an arctic fox from the polar regions, even though the body is much too large. The arctic fox was first described in 1555 by Olaus Magnus. However, it could also be a depiction of a brown or black bear. An unusual detail is the animal, which is relatively isolated in the right background and looks to the left. It is not clearly identifiable, but it shows certain similarities with the Australian kangaroo. This was first described by Vespucci in 1500 and further by Francisco Pelsaert in 1629. If it is indeed a kangaroo, this would be one of the earliest surviving pictorial representations. In this painting, Orpheus is accompanied by a small monkey playing a viola da gamba. This is an iconographic peculiarity. In general, this painting has some peculiarities compared to other paintings with "Orpheus and the animals". The central positioning of Orpheus is quite common, but he usually holds a lyre and is dressed in an antique style, but not as opulently. The choice of animals is also remarkable: European animals in particular are seen, hardly any exotic features, such as camels or elephants. The two lions in the right foreground are a quotation from Peter Paul Rubens and his depiction of "Daniel in the Lion's Den", which was realized in an engraving. The present painting can be classified as belonging to the Flemish School of the 17th century on the basis of its painterly and compositional conception. From the circle of Jan Brueghel the Younger are numerous representations of this Orpheus - theme, which take it as an opportunity to show as many exotic animals. There are also echoes of Spanish painters such as Juan de Arellano...

Elegant painting from the second half of the 17th century. Oil on canvas artwork depicting a splendid landscape with grazing animals, of great pictorial quality. In the foreground we...