1032
Frans Francken the YoungerVarious Methods of Achieving FameOil on copper. 58 x 40.5 cm.Monogrammed
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Beschreibung
Frans Francken the Younger
Various Methods of Achieving Fame
Oil on copper. 58 x 40.5 cm.
Monogrammed on the lower left: FF F (FF conjoined).
Literature
For the other version of the composition cf. Ursula Härting, Frans Francken der Jüngere (1581-1642). Die Gemälde mit kritischem Oeuvrekatalog. Freren 1989, p. 353-354.
On the reverse the mark of Peeter Stas.
Various Methods of Achieving Fame - the unusual title of this composition, to be dated around 1611, can be derived from a work by Frans Francken the Younger which was sold at auction in the 18th century, the composition of which has survived in various versions (Härting 1989, op. cit., p. 353 - 354).
We see a nocturnal landscape in which numerous figures have gathered in groups. Fama, the personification of fame, glides through the sky above them, blowing her trumpet. Below her in the centre of the work, a group of men sit around a table, engaged in a lively discussion. The erudite nature of their debate can be ascertained from their gestures and the objects arranged upon the table before them: Books, globes depicting the earth and the sky, a pair of compasses, and a sundial. They are the symbols of the seven liberal arts, the ancient canon of Humanist education. When we allow our gaze to drift towards the left, we see an artist at his easel surrounded by onlookers discussing the unfinished painting. Behind him, a pillar with a golden statue at its summit rises up into the sky. We see further groups of figures in conversation scattered across the canvas. They are dressed in costumes from various historical eras, as might be seen in Frans Francken's works depicting the stories of the Old Testament or the ancient myths. On the right hand side of the image we see a battle scene and before it a female figure playing a spinet. She reminds us that the symbol of one of the liberal arts, music, is missing from the objects on the table and is instead represented in this personification.
“The preferred theme of this “lover's cabinet” is that of conversation. A dialogue structure permeates the entire depiction (…) What we are dealing with is a colloquium or disputatio, or, to use a phrase common at the time, with an entretien” (Victor Stoichita, The Self-Aware Image: An Insight Into Early Modern Meta-Painting, Cambridge 1997, p. 135). Stoichita's comment on the gallery paintings of Frans Francken can also be applied to the present work. It is a complex composition that contains numerous references both within its own motifs and to other paintings, including other works by Frans Francken, and allows for multiple layers of observation and interpretation.
The figures, for example, conversing around the table in the centre of the image appear to derive from Giorgio Vasari's ideal portrait of the “Seven Italian Writers”, that was reproduced in an engraving by Hieronymus Cock (cf. ill. 1). In contrast to other versions of this composition, here the scholars are placed in a prominent position. This version also differs greatly from others in that it is limited to the depiction of the arts and sciences, whereas other versions also include generals and rulers.
The painting on the easel is known from another work by Frans Francken, “Painting and Poetry (Ut Pictura Poesis)”, portraying Apoll and the Muses, symbolising the Inspiratio of the poet. The golden statue on the column represents the Allegory of Fortuna or Occasio, depicted by Francken in a number of famous allegorical paintings.
The subject of this painting is therefore the fame that can be achieved through the arts and sciences. Francken represents an ideal “community” of artists and scholars, but also their supporters and patrons, united in the creation of and the discussion of art. This interpretation becomes yet more fascinating when we take into account Ursula Härting's suggestion that the figure with the feathered hat looking out towards the viewer could be a self-portrait of the artist himself (cf. ill. 2). The figure is depicted looking over his shoulder, a pose typically used in self-portraits of that period. In this case it would be no coincidence that the artist's monogram “FF F” (“Frans Francken Fecit”) can be found on the stool from which the figure arises. If Härting's conclusion is correct, then the artist is present here in two roles: Both as the creator of a work of art representing artistic inspiration and as a participant in a scholarly discussion. The painting could thus be interpreted as a confident (self-)praise of artists, whose works - as was the case with those of Frans Francken - are based on an extensive education.
The work could also be viewed more broadly as Frans Francken praising the new flowering of Flemish painting initiated by the rising patronage of the governors of the Southern Netherlands, the Twelve Years´ Truce, and a young generation of artists. Thus, the dark of the night, which still almost entirely envelops the battle scene on the right, gradually subsides towards the left of the image where the artist is shown working at his easel surrounded by patrons. Fortuna (or Occasio) is the patron of this new era. This reading of the work is completed by the personification of music as the symbol of a new age of harmony overcoming the dark age of discord.Frans Francken d. J.
Verschiedene Möglichkeiten Berühmtheit zu erlangen
Öl auf Kupfer. 58 x 40,5 cm.
Monogrammiert unten links: FF F (FF ligiert).
Gutachten
Dr. Ursula Härting, Hamm, 1.10.2019.
Literatur
Zu den anderen Versionen vgl.: Ursula Härting: Frans Francken der Jüngere (1581-1642). Die Gemälde mit kritischem Oeuvrekatalog: Freren 1989, S. 353f.
Verso die Marke von Peeter Stas.
Verschiedene Arten Ruhm zu erlangen - der ungewöhnliche Bildtitel für diese Komposition, um 1611 zu datieren, lässt sich von einem Werk Frans Franckens des Jüngeren ableiten, das in einer Auktion im 18. Jahrhundert versteigert worden ist, und dessen Darstellung sich in verschiedenen Varianten überliefert hat (Härting 1989, op. cit., S.353-354).
In einer nächtlichen Landschaft hat sich eine Vielzahl von Figuren versammelt, die in Gruppen zusammenstehen. Im Himmel schwebt Fama, die Personifikation des Ruhms, und bläst in ihre Posaune. Unter ihr, im Bildzentrum, diskutiert angeregt eine Gruppe von Männern an einem Tisch. Dass es sich um eine gelehrte Konversation handelt, verdeutlichen ihre Gesten, aber auch die Gegenstände auf dem Tisch: die Bücher, der Globus, der Himmelsglobus, der Zirkel und die Sonnenuhr. Es sind Symbole der sieben freien Künste, dem antiken Kanon humanistischer Bildung. Schweift der Blick vom Bildzentrum nach links, sieht man einen Künstler an einer Staffelei, umgeben von Betrachtern, die über das unfertige Gemälde diskutieren. Hinter dem Künstler ragt eine Ehrensäule mit einer vergoldeten Statue in den Himmel. Weitere Gruppen von Diskutierenden ziehen sich im Mittelgrund über die gesamte Breite des Bildes. Man sieht Figuren in Trachten aus unterschiedlichen Epochen, wie man sie aus anderen Gemälden Franckens, aus alttestamentarischen und mythologischen Historien etwa, kennt. Auf der anderen Seite, am rechten Bildrand, erblickt man eine Schlacht, davor eine weibliche Figur an einem Spinett. Bei ihrem Anblick wird dem Betrachter bewusst, dass das Symbol der Musik, einer der sieben freien Künste, auf dem Tisch fehlt – sie ist durch diese Personifikation vertreten.
„(D)as bevorzugte Thema der „Liebhaber-Kabinette“ ist die Konversation. Eine dialogische Struktur durchzieht insgesamt die Darstellung. (…) Wir haben es mit einem colloquium, mit einer disputatio zu tun, oder, um den damals beliebten Ausdruck zu benutzen, mit einer Unterhaltung, einer entretien“ (Victor Stoic
Full description on lot-tissimo.com
Various Methods of Achieving Fame
Oil on copper. 58 x 40.5 cm.
Monogrammed on the lower left: FF F (FF conjoined).
Literature
For the other version of the composition cf. Ursula Härting, Frans Francken der Jüngere (1581-1642). Die Gemälde mit kritischem Oeuvrekatalog. Freren 1989, p. 353-354.
On the reverse the mark of Peeter Stas.
Various Methods of Achieving Fame - the unusual title of this composition, to be dated around 1611, can be derived from a work by Frans Francken the Younger which was sold at auction in the 18th century, the composition of which has survived in various versions (Härting 1989, op. cit., p. 353 - 354).
We see a nocturnal landscape in which numerous figures have gathered in groups. Fama, the personification of fame, glides through the sky above them, blowing her trumpet. Below her in the centre of the work, a group of men sit around a table, engaged in a lively discussion. The erudite nature of their debate can be ascertained from their gestures and the objects arranged upon the table before them: Books, globes depicting the earth and the sky, a pair of compasses, and a sundial. They are the symbols of the seven liberal arts, the ancient canon of Humanist education. When we allow our gaze to drift towards the left, we see an artist at his easel surrounded by onlookers discussing the unfinished painting. Behind him, a pillar with a golden statue at its summit rises up into the sky. We see further groups of figures in conversation scattered across the canvas. They are dressed in costumes from various historical eras, as might be seen in Frans Francken's works depicting the stories of the Old Testament or the ancient myths. On the right hand side of the image we see a battle scene and before it a female figure playing a spinet. She reminds us that the symbol of one of the liberal arts, music, is missing from the objects on the table and is instead represented in this personification.
“The preferred theme of this “lover's cabinet” is that of conversation. A dialogue structure permeates the entire depiction (…) What we are dealing with is a colloquium or disputatio, or, to use a phrase common at the time, with an entretien” (Victor Stoichita, The Self-Aware Image: An Insight Into Early Modern Meta-Painting, Cambridge 1997, p. 135). Stoichita's comment on the gallery paintings of Frans Francken can also be applied to the present work. It is a complex composition that contains numerous references both within its own motifs and to other paintings, including other works by Frans Francken, and allows for multiple layers of observation and interpretation.
The figures, for example, conversing around the table in the centre of the image appear to derive from Giorgio Vasari's ideal portrait of the “Seven Italian Writers”, that was reproduced in an engraving by Hieronymus Cock (cf. ill. 1). In contrast to other versions of this composition, here the scholars are placed in a prominent position. This version also differs greatly from others in that it is limited to the depiction of the arts and sciences, whereas other versions also include generals and rulers.
The painting on the easel is known from another work by Frans Francken, “Painting and Poetry (Ut Pictura Poesis)”, portraying Apoll and the Muses, symbolising the Inspiratio of the poet. The golden statue on the column represents the Allegory of Fortuna or Occasio, depicted by Francken in a number of famous allegorical paintings.
The subject of this painting is therefore the fame that can be achieved through the arts and sciences. Francken represents an ideal “community” of artists and scholars, but also their supporters and patrons, united in the creation of and the discussion of art. This interpretation becomes yet more fascinating when we take into account Ursula Härting's suggestion that the figure with the feathered hat looking out towards the viewer could be a self-portrait of the artist himself (cf. ill. 2). The figure is depicted looking over his shoulder, a pose typically used in self-portraits of that period. In this case it would be no coincidence that the artist's monogram “FF F” (“Frans Francken Fecit”) can be found on the stool from which the figure arises. If Härting's conclusion is correct, then the artist is present here in two roles: Both as the creator of a work of art representing artistic inspiration and as a participant in a scholarly discussion. The painting could thus be interpreted as a confident (self-)praise of artists, whose works - as was the case with those of Frans Francken - are based on an extensive education.
The work could also be viewed more broadly as Frans Francken praising the new flowering of Flemish painting initiated by the rising patronage of the governors of the Southern Netherlands, the Twelve Years´ Truce, and a young generation of artists. Thus, the dark of the night, which still almost entirely envelops the battle scene on the right, gradually subsides towards the left of the image where the artist is shown working at his easel surrounded by patrons. Fortuna (or Occasio) is the patron of this new era. This reading of the work is completed by the personification of music as the symbol of a new age of harmony overcoming the dark age of discord.Frans Francken d. J.
Verschiedene Möglichkeiten Berühmtheit zu erlangen
Öl auf Kupfer. 58 x 40,5 cm.
Monogrammiert unten links: FF F (FF ligiert).
Gutachten
Dr. Ursula Härting, Hamm, 1.10.2019.
Literatur
Zu den anderen Versionen vgl.: Ursula Härting: Frans Francken der Jüngere (1581-1642). Die Gemälde mit kritischem Oeuvrekatalog: Freren 1989, S. 353f.
Verso die Marke von Peeter Stas.
Verschiedene Arten Ruhm zu erlangen - der ungewöhnliche Bildtitel für diese Komposition, um 1611 zu datieren, lässt sich von einem Werk Frans Franckens des Jüngeren ableiten, das in einer Auktion im 18. Jahrhundert versteigert worden ist, und dessen Darstellung sich in verschiedenen Varianten überliefert hat (Härting 1989, op. cit., S.353-354).
In einer nächtlichen Landschaft hat sich eine Vielzahl von Figuren versammelt, die in Gruppen zusammenstehen. Im Himmel schwebt Fama, die Personifikation des Ruhms, und bläst in ihre Posaune. Unter ihr, im Bildzentrum, diskutiert angeregt eine Gruppe von Männern an einem Tisch. Dass es sich um eine gelehrte Konversation handelt, verdeutlichen ihre Gesten, aber auch die Gegenstände auf dem Tisch: die Bücher, der Globus, der Himmelsglobus, der Zirkel und die Sonnenuhr. Es sind Symbole der sieben freien Künste, dem antiken Kanon humanistischer Bildung. Schweift der Blick vom Bildzentrum nach links, sieht man einen Künstler an einer Staffelei, umgeben von Betrachtern, die über das unfertige Gemälde diskutieren. Hinter dem Künstler ragt eine Ehrensäule mit einer vergoldeten Statue in den Himmel. Weitere Gruppen von Diskutierenden ziehen sich im Mittelgrund über die gesamte Breite des Bildes. Man sieht Figuren in Trachten aus unterschiedlichen Epochen, wie man sie aus anderen Gemälden Franckens, aus alttestamentarischen und mythologischen Historien etwa, kennt. Auf der anderen Seite, am rechten Bildrand, erblickt man eine Schlacht, davor eine weibliche Figur an einem Spinett. Bei ihrem Anblick wird dem Betrachter bewusst, dass das Symbol der Musik, einer der sieben freien Künste, auf dem Tisch fehlt – sie ist durch diese Personifikation vertreten.
„(D)as bevorzugte Thema der „Liebhaber-Kabinette“ ist die Konversation. Eine dialogische Struktur durchzieht insgesamt die Darstellung. (…) Wir haben es mit einem colloquium, mit einer disputatio zu tun, oder, um den damals beliebten Ausdruck zu benutzen, mit einer Unterhaltung, einer entretien“ (Victor Stoic
Full description on lot-tissimo.com
Auktionsdetails
Versand
AGB & Wichtige Informationen
Stellen Sie dem Verkäufer eine Frage
Frans Francken the Younger
Various Methods of Achieving Fame
Oil on copper. 58 x 40.5 cm.
Monogrammed on the lower left: FF F (FF conjoined).
Literature
For the other version of the composition cf. Ursula Härting, Frans Francken der Jüngere (1581-1642). Die Gemälde mit kritischem Oeuvrekatalog. Freren 1989, p. 353-354.
On the reverse the mark of Peeter Stas.
Various Methods of Achieving Fame - the unusual title of this composition, to be dated around 1611, can be derived from a work by Frans Francken the Younger which was sold at auction in the 18th century, the composition of which has survived in various versions (Härting 1989, op. cit., p. 353 - 354).
We see a nocturnal landscape in which numerous figures have gathered in groups. Fama, the personification of fame, glides through the sky above them, blowing her trumpet. Below her in the centre of the work, a group of men sit around a table, engaged in a lively discussion. The erudite nature of their debate can be ascertained from their gestures and the objects arranged upon the table before them: Books, globes depicting the earth and the sky, a pair of compasses, and a sundial. They are the symbols of the seven liberal arts, the ancient canon of Humanist education. When we allow our gaze to drift towards the left, we see an artist at his easel surrounded by onlookers discussing the unfinished painting. Behind him, a pillar with a golden statue at its summit rises up into the sky. We see further groups of figures in conversation scattered across the canvas. They are dressed in costumes from various historical eras, as might be seen in Frans Francken's works depicting the stories of the Old Testament or the ancient myths. On the right hand side of the image we see a battle scene and before it a female figure playing a spinet. She reminds us that the symbol of one of the liberal arts, music, is missing from the objects on the table and is instead represented in this personification.
“The preferred theme of this “lover's cabinet” is that of conversation. A dialogue structure permeates the entire depiction (…) What we are dealing with is a colloquium or disputatio, or, to use a phrase common at the time, with an entretien” (Victor Stoichita, The Self-Aware Image: An Insight Into Early Modern Meta-Painting, Cambridge 1997, p. 135). Stoichita's comment on the gallery paintings of Frans Francken can also be applied to the present work. It is a complex composition that contains numerous references both within its own motifs and to other paintings, including other works by Frans Francken, and allows for multiple layers of observation and interpretation.
The figures, for example, conversing around the table in the centre of the image appear to derive from Giorgio Vasari's ideal portrait of the “Seven Italian Writers”, that was reproduced in an engraving by Hieronymus Cock (cf. ill. 1). In contrast to other versions of this composition, here the scholars are placed in a prominent position. This version also differs greatly from others in that it is limited to the depiction of the arts and sciences, whereas other versions also include generals and rulers.
The painting on the easel is known from another work by Frans Francken, “Painting and Poetry (Ut Pictura Poesis)”, portraying Apoll and the Muses, symbolising the Inspiratio of the poet. The golden statue on the column represents the Allegory of Fortuna or Occasio, depicted by Francken in a number of famous allegorical paintings.
The subject of this painting is therefore the fame that can be achieved through the arts and sciences. Francken represents an ideal “community” of artists and scholars, but also their supporters and patrons, united in the creation of and the discussion of art. This interpretation becomes yet more fascinating when we take into account Ursula Härting's suggestion that the figure with the feathered hat looking out towards the viewer could be a self-portrait of the artist himself (cf. ill. 2). The figure is depicted looking over his shoulder, a pose typically used in self-portraits of that period. In this case it would be no coincidence that the artist's monogram “FF F” (“Frans Francken Fecit”) can be found on the stool from which the figure arises. If Härting's conclusion is correct, then the artist is present here in two roles: Both as the creator of a work of art representing artistic inspiration and as a participant in a scholarly discussion. The painting could thus be interpreted as a confident (self-)praise of artists, whose works - as was the case with those of Frans Francken - are based on an extensive education.
The work could also be viewed more broadly as Frans Francken praising the new flowering of Flemish painting initiated by the rising patronage of the governors of the Southern Netherlands, the Twelve Years´ Truce, and a young generation of artists. Thus, the dark of the night, which still almost entirely envelops the battle scene on the right, gradually subsides towards the left of the image where the artist is shown working at his easel surrounded by patrons. Fortuna (or Occasio) is the patron of this new era. This reading of the work is completed by the personification of music as the symbol of a new age of harmony overcoming the dark age of discord.Frans Francken d. J.
Verschiedene Möglichkeiten Berühmtheit zu erlangen
Öl auf Kupfer. 58 x 40,5 cm.
Monogrammiert unten links: FF F (FF ligiert).
Gutachten
Dr. Ursula Härting, Hamm, 1.10.2019.
Literatur
Zu den anderen Versionen vgl.: Ursula Härting: Frans Francken der Jüngere (1581-1642). Die Gemälde mit kritischem Oeuvrekatalog: Freren 1989, S. 353f.
Verso die Marke von Peeter Stas.
Verschiedene Arten Ruhm zu erlangen - der ungewöhnliche Bildtitel für diese Komposition, um 1611 zu datieren, lässt sich von einem Werk Frans Franckens des Jüngeren ableiten, das in einer Auktion im 18. Jahrhundert versteigert worden ist, und dessen Darstellung sich in verschiedenen Varianten überliefert hat (Härting 1989, op. cit., S.353-354).
In einer nächtlichen Landschaft hat sich eine Vielzahl von Figuren versammelt, die in Gruppen zusammenstehen. Im Himmel schwebt Fama, die Personifikation des Ruhms, und bläst in ihre Posaune. Unter ihr, im Bildzentrum, diskutiert angeregt eine Gruppe von Männern an einem Tisch. Dass es sich um eine gelehrte Konversation handelt, verdeutlichen ihre Gesten, aber auch die Gegenstände auf dem Tisch: die Bücher, der Globus, der Himmelsglobus, der Zirkel und die Sonnenuhr. Es sind Symbole der sieben freien Künste, dem antiken Kanon humanistischer Bildung. Schweift der Blick vom Bildzentrum nach links, sieht man einen Künstler an einer Staffelei, umgeben von Betrachtern, die über das unfertige Gemälde diskutieren. Hinter dem Künstler ragt eine Ehrensäule mit einer vergoldeten Statue in den Himmel. Weitere Gruppen von Diskutierenden ziehen sich im Mittelgrund über die gesamte Breite des Bildes. Man sieht Figuren in Trachten aus unterschiedlichen Epochen, wie man sie aus anderen Gemälden Franckens, aus alttestamentarischen und mythologischen Historien etwa, kennt. Auf der anderen Seite, am rechten Bildrand, erblickt man eine Schlacht, davor eine weibliche Figur an einem Spinett. Bei ihrem Anblick wird dem Betrachter bewusst, dass das Symbol der Musik, einer der sieben freien Künste, auf dem Tisch fehlt – sie ist durch diese Personifikation vertreten.
„(D)as bevorzugte Thema der „Liebhaber-Kabinette“ ist die Konversation. Eine dialogische Struktur durchzieht insgesamt die Darstellung. (…) Wir haben es mit einem colloquium, mit einer disputatio zu tun, oder, um den damals beliebten Ausdruck zu benutzen, mit einer Unterhaltung, einer entretien“ (Victor Stoic
Full description on lot-tissimo.com
Various Methods of Achieving Fame
Oil on copper. 58 x 40.5 cm.
Monogrammed on the lower left: FF F (FF conjoined).
Literature
For the other version of the composition cf. Ursula Härting, Frans Francken der Jüngere (1581-1642). Die Gemälde mit kritischem Oeuvrekatalog. Freren 1989, p. 353-354.
On the reverse the mark of Peeter Stas.
Various Methods of Achieving Fame - the unusual title of this composition, to be dated around 1611, can be derived from a work by Frans Francken the Younger which was sold at auction in the 18th century, the composition of which has survived in various versions (Härting 1989, op. cit., p. 353 - 354).
We see a nocturnal landscape in which numerous figures have gathered in groups. Fama, the personification of fame, glides through the sky above them, blowing her trumpet. Below her in the centre of the work, a group of men sit around a table, engaged in a lively discussion. The erudite nature of their debate can be ascertained from their gestures and the objects arranged upon the table before them: Books, globes depicting the earth and the sky, a pair of compasses, and a sundial. They are the symbols of the seven liberal arts, the ancient canon of Humanist education. When we allow our gaze to drift towards the left, we see an artist at his easel surrounded by onlookers discussing the unfinished painting. Behind him, a pillar with a golden statue at its summit rises up into the sky. We see further groups of figures in conversation scattered across the canvas. They are dressed in costumes from various historical eras, as might be seen in Frans Francken's works depicting the stories of the Old Testament or the ancient myths. On the right hand side of the image we see a battle scene and before it a female figure playing a spinet. She reminds us that the symbol of one of the liberal arts, music, is missing from the objects on the table and is instead represented in this personification.
“The preferred theme of this “lover's cabinet” is that of conversation. A dialogue structure permeates the entire depiction (…) What we are dealing with is a colloquium or disputatio, or, to use a phrase common at the time, with an entretien” (Victor Stoichita, The Self-Aware Image: An Insight Into Early Modern Meta-Painting, Cambridge 1997, p. 135). Stoichita's comment on the gallery paintings of Frans Francken can also be applied to the present work. It is a complex composition that contains numerous references both within its own motifs and to other paintings, including other works by Frans Francken, and allows for multiple layers of observation and interpretation.
The figures, for example, conversing around the table in the centre of the image appear to derive from Giorgio Vasari's ideal portrait of the “Seven Italian Writers”, that was reproduced in an engraving by Hieronymus Cock (cf. ill. 1). In contrast to other versions of this composition, here the scholars are placed in a prominent position. This version also differs greatly from others in that it is limited to the depiction of the arts and sciences, whereas other versions also include generals and rulers.
The painting on the easel is known from another work by Frans Francken, “Painting and Poetry (Ut Pictura Poesis)”, portraying Apoll and the Muses, symbolising the Inspiratio of the poet. The golden statue on the column represents the Allegory of Fortuna or Occasio, depicted by Francken in a number of famous allegorical paintings.
The subject of this painting is therefore the fame that can be achieved through the arts and sciences. Francken represents an ideal “community” of artists and scholars, but also their supporters and patrons, united in the creation of and the discussion of art. This interpretation becomes yet more fascinating when we take into account Ursula Härting's suggestion that the figure with the feathered hat looking out towards the viewer could be a self-portrait of the artist himself (cf. ill. 2). The figure is depicted looking over his shoulder, a pose typically used in self-portraits of that period. In this case it would be no coincidence that the artist's monogram “FF F” (“Frans Francken Fecit”) can be found on the stool from which the figure arises. If Härting's conclusion is correct, then the artist is present here in two roles: Both as the creator of a work of art representing artistic inspiration and as a participant in a scholarly discussion. The painting could thus be interpreted as a confident (self-)praise of artists, whose works - as was the case with those of Frans Francken - are based on an extensive education.
The work could also be viewed more broadly as Frans Francken praising the new flowering of Flemish painting initiated by the rising patronage of the governors of the Southern Netherlands, the Twelve Years´ Truce, and a young generation of artists. Thus, the dark of the night, which still almost entirely envelops the battle scene on the right, gradually subsides towards the left of the image where the artist is shown working at his easel surrounded by patrons. Fortuna (or Occasio) is the patron of this new era. This reading of the work is completed by the personification of music as the symbol of a new age of harmony overcoming the dark age of discord.Frans Francken d. J.
Verschiedene Möglichkeiten Berühmtheit zu erlangen
Öl auf Kupfer. 58 x 40,5 cm.
Monogrammiert unten links: FF F (FF ligiert).
Gutachten
Dr. Ursula Härting, Hamm, 1.10.2019.
Literatur
Zu den anderen Versionen vgl.: Ursula Härting: Frans Francken der Jüngere (1581-1642). Die Gemälde mit kritischem Oeuvrekatalog: Freren 1989, S. 353f.
Verso die Marke von Peeter Stas.
Verschiedene Arten Ruhm zu erlangen - der ungewöhnliche Bildtitel für diese Komposition, um 1611 zu datieren, lässt sich von einem Werk Frans Franckens des Jüngeren ableiten, das in einer Auktion im 18. Jahrhundert versteigert worden ist, und dessen Darstellung sich in verschiedenen Varianten überliefert hat (Härting 1989, op. cit., S.353-354).
In einer nächtlichen Landschaft hat sich eine Vielzahl von Figuren versammelt, die in Gruppen zusammenstehen. Im Himmel schwebt Fama, die Personifikation des Ruhms, und bläst in ihre Posaune. Unter ihr, im Bildzentrum, diskutiert angeregt eine Gruppe von Männern an einem Tisch. Dass es sich um eine gelehrte Konversation handelt, verdeutlichen ihre Gesten, aber auch die Gegenstände auf dem Tisch: die Bücher, der Globus, der Himmelsglobus, der Zirkel und die Sonnenuhr. Es sind Symbole der sieben freien Künste, dem antiken Kanon humanistischer Bildung. Schweift der Blick vom Bildzentrum nach links, sieht man einen Künstler an einer Staffelei, umgeben von Betrachtern, die über das unfertige Gemälde diskutieren. Hinter dem Künstler ragt eine Ehrensäule mit einer vergoldeten Statue in den Himmel. Weitere Gruppen von Diskutierenden ziehen sich im Mittelgrund über die gesamte Breite des Bildes. Man sieht Figuren in Trachten aus unterschiedlichen Epochen, wie man sie aus anderen Gemälden Franckens, aus alttestamentarischen und mythologischen Historien etwa, kennt. Auf der anderen Seite, am rechten Bildrand, erblickt man eine Schlacht, davor eine weibliche Figur an einem Spinett. Bei ihrem Anblick wird dem Betrachter bewusst, dass das Symbol der Musik, einer der sieben freien Künste, auf dem Tisch fehlt – sie ist durch diese Personifikation vertreten.
„(D)as bevorzugte Thema der „Liebhaber-Kabinette“ ist die Konversation. Eine dialogische Struktur durchzieht insgesamt die Darstellung. (…) Wir haben es mit einem colloquium, mit einer disputatio zu tun, oder, um den damals beliebten Ausdruck zu benutzen, mit einer Unterhaltung, einer entretien“ (Victor Stoic
Full description on lot-tissimo.com
Paintings and Drawings 15th - 19th C. / Sculpture and Works of Art
Auktionsdatum
Lose: 1000 - 1229
Lose: 1300 - 1380
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany
Für Kunsthaus Lempertz Versandinformtation bitte wählen Sie +49 (0)221 9257290.
Wichtige Informationen
3 % live surcharge plus VAT
Different terms on lot level:
24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
19.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme
or
19.00 % VAT on the hammer price
24.00 % buyer's premium on the hammer price
19.00 % VAT on buyer's premium
- 20.00 % buyer's premium on the amount of the hammer price exceeding 400,001 EUR
or
24.00 % buyer's premium on the hammer price
(20.00 % on the part of the hammer price exceeding 400,001 EUR)
7.00 % VAT on buyer's premium and other charges; not indicated and not reclaimable; VAT margin scheme
AGB
Conditions of Sale
1. The art auction house, Kunsthaus Lempertz (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain -anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
2. The auctioneer reserves the right to divide or combine any catalogue lots or, if it has special reason to do so, to offer any lot for sale in an order different from that given in the catalogue or to withdraw any lot from the sale.
3. All lots put up for sale may be viewed and inspected prior to the auction. The catalogue specifications and related specifications appearing on the internet, which have both been compiled in good conscience, do not form part of the contractually agreed to conditions. These specifications have been derived from the status of the information available at the time of compiling the catalogue. They do not serve as a guarantee in legal terms and their purpose is purely in the information they provide. The same applies to any reports on an item’s condition or any other information, either in oral or written form. Certificates or certifications from artists, their estates or experts relevant to each case only form a contractual part of the agreement if they are specifically mentioned in the catalogue text. The state of the item is generally not mentioned in the catalogue. Likewise missing specifications do not constitute an agreement on quality. All items are used goods.
The gold content of objects without fineness stamps are ascertained using an acid test. The size and quality of gemstones are ascertained within the settings, unless mentioned otherwise. Assessments of the clarity and colour of gemstones are subject to the subjective perception. Minor divergences from the values provided do not represent deficiencies. References to gemmological certifications are used purely for informational purposes, and do not provide a guarantee. The watches listed have been opened to be catalogued, but we cannot guarantee for their accuracy and function.
4. Warranty claims are excluded. In the event of variances from the catalogue -descriptions, which result in negation or substantial diminution of value or suitability, and which are reported with due justification within one year after handover, Lempertz nevertheless undertakes to pursue its rights against the seller through the courts; in the event of a successful claim against the seller, Lempertz will reimburse the buyer only the total purchase price paid. Over and above this, Lempertz undertakes to reimburse its commission within a given period of two years after the date of the sale if the object in question proves not to be authentic.
5. Claims for compensation as the result of a fault or defect in the object auctioned or damage to it or its loss, regardless of the legal grounds, or as the result of variances from the catalogue description or statements made elsewhere are excluded unless Lempertz acted with wilful intent or gross negligence; the liability for bodily injury or damages caused to health or life remains unaffected. In other regards, point 4 applies.
6. Submission of bids. Bids in attendance: The floor bidder receives a bidding number on presentation of a photo ID. Lempertz reserves the right to grant entry to the auction. If the bidder is not known to Lempertz, registration must take place 24 hours before the auction is due to begin in writing on presentation of a current bank reference. Bids in absentia: Bids can also be submitted either in writing, -telephonically or via the internet. The placing of bids in absentia must reach -Lempertz 24 hours before the auction to ensure the proper processing thereof. The item must be mentioned in the bid placed, together with ticket number and item description. In the event of ambiguities, the listed ticket number -becomes applicable. The placement of a bid must be signed by the applicant. The regulations regarding revocations and the right to return the goods in the case of long distance agreements (§ 312b – d of the Civil Code) do not -apply. Telephonic bids: Establishing and maintaining a connection cannot be vouched for. In submitting a bid placement, the bidder declares that he agrees to the recording of the bidding process. Bids via the internet: They will only be accepted by Lempertz if the bidder registered himself on the internet website beforehand. Lempertz will treat such bids in the same way as bids in writing.
7. Carrying out the auction. The hammer will come down when no higher bids are submitted after three calls for a bid. In extenuating circumstances, the auctioneer reserves the right to bring down the hammer or he can refuse to accept a bid. If several individuals make the same bid at the same time, and after the third call, no higher bid ensues, then the ticket becomes the deciding factor. The auctioneer can retract his acceptance of the bid and auction the item once more if a higher bid that was submitted on time, was erroneously overlooked and immediately queried by the bidder, or if any doubts regarding its acceptance arise. Bids are only played to an absolute maximum by Lempertz if this is deemed necessary to outbid another bid. The auctioneer can bid on behalf of the submitter up to the agreed limit, without revealing this and irrespective of whether other bids are submitted. Even if bids have been placed and the hammer has not come down, the auctioneer is only liable to the bidder in the event of premeditation or gross negligence.
8. Once a lot has been knocked down, the successful bidder is obliged to buy it. If a bid is accepted conditionally, the bidder is bound by his bid until four weeks after the auction unless he immediately withdraws from the conditionally accepted bid. From the fall of the hammer, possession and risk pass directly to the buyer, while ownership passes to the buyer only after full payment has been received.
9. Up to a hammer price of € 400.000.- a premium of 24 % calculated on the hammer price plus 19 % value added tax calculated (VAT) on the surcharge only is levied. The premium will be reduced to 20 % (plus VAT) on any amount surpassing € 400.000 (margin scheme). On lots which are characterized by ** an additional 7 % for import tax will be added. On lots which are characterised by an *, the buyer shall pay a premium of 24 % on a hammer price up to € 400.000 and 20 % on the surpassing amount; onto this (hammer price and premium) the statutory VAT of 19 % will be added (regular scheme). Exports to third (i.e. non-EU) countries will be exempt from VAT, and so will be exports made by companies from other EU member states if they state their VAT identification number. For original works of art, whose author died after 31.12.1943, a charge of 1,9 % on the hammer price will be levied for the droit de suite. The maximum charge is € 12.500.-. If a buyer exports an object to a third country personally, the VAT will be refunded, as soon as Lempertz receives the export and import papers. All invoices issued on the day of auction or soon after remain under provision.
10. Successful bidders attending the auction in person shall forthwith upon the purchase pay to Lempertz the final price (hammer price plus premium and VAT) in Euro. Payments by foreign buyers who have bid in writing or by proxy shall also be due forthwith upon the purchase, but will not be deemed to have been delayed if received within ten days of the invoice date. Bank transfers are to be exclusively in Euros. The request for an alteration of an auction invoice to a person other than the bidder has to be made immediately after the auction. Lempertz however also reserves the right to refuse such a request if it is deemed appropriate.
11. In the case of payment default, Lempertz will charge interest on the outstanding amount at a rate of 1 % of the gross price per month or part month. If the buyer defaults in payment, Lempertz may at its discretion insist on performance of the purchase contract or, after allowing a period of grace, claim damages for non-performance. In the latter case, Lempertz may determine the amount of the damages by putting the lot or lots up for auction again, in which case the defaulting buyer will bear the amount of any reduction in the proceeds compared with the earlier auction, plus the cost of resale, including the premium.
12. Buyers must take charge of their purchases immediately after the auction. Once a lot has been sold, the auctioneer is liable only for wilful intent or gross negligence. Lots will not, however, be surrendered to buyers until full payment has been received. Without exception, shipment will be at the expense and risk of the buyer. Purchases which are not collected within four weeks after the auction may be stored and insured by Lempertz on behalf of the buyer and at its expense in the premises of a freight agent. If Lempertz stores such items itself, it will charge 1 % of the hammer price for insurance and storage costs.
13. As far as this can be agreed, the place of performance and jurisdiction is Cologne. German law applies; the provisions of the United Nations Convention on Contracts for the International Sale of Goods, CISG are not applicable. Should any provision herein be wholly or partially ineffective, this will not affect the validity of the remaining provisions.
Henrik Hanstein, sworn public auctioneer
Takuro Ito, Auctioneer
