FRANS FRANCKEN THE YOUNGER (FLEMISH 1581-1642), CHRIST IN THE HOUSE

FRANS FRANCKEN THE YOUNGER (FLEMISH 1581-1642) CHRIST IN THE HOUSE OF SIMON THE PHARISEE Oil on panel Signed 'D. o. ffranck. in. et f.' (lower right); further titled by later hand 'The Lord's Supper' (to label, verso) 58.4 x 44.5cm (22 x 17½ in.) Provenance: (Probably) acquired by Edward Southwell, MP (1705 - 1755) for Kings Weston House near Bristol Thence by family descent until 2024 Literature: Inventory of Kings Weston House Contents, dated 27th December, 1777. Listed among the Paintings in Lady Clifford's Dressing Room (page 26, item 4 "The Washing of our Saviour's Feet by old Frank") Long considered a painting by Frans Francken the Elder, this remarkable discovery is now recognised as a fine example of the work of Frans Francken the Younger. Hidden from public view for more than 250 years, it is listed in the 1777 inventory of goods from Kings Weston House, where it was located in Lady Clifford's Dressing Room. According to the inventory, it was displayed alongside works attributed to Claude Lorrain, Paul Bril, Cornelis van Poelenburch, and Godfrey Kneller. Although mistakenly recorded as "The Washing of our Saviour's Feet by Old Frank" (Frans Francken the Elder), the quality of the painting - evident in the free, almost sketch-like yet confident brushwork of the background figures, the richly detailed table, and the small, glimmering tears suspended in mid-air from the woman washing Christ's feet - clearly reflects the hand of Frans Francken the Younger. The 18th-century attribution to Francken the Elder likely stems from the signature "D.o. ffranck," where "D.o." stands for the Flemish de oude, meaning "the Elder." However, this signature was actually used by Frans Francken the Younger from the late 1620s. Prior to the death of his father in 1616, he had signed his works as "the young Frans Francken." Furthermore, the subject of the painting has been misidentified over the years, as suggested by a label on the reverse reading "The Lord's Supper." While the Kings Weston House records come closer to the correct subject, the painting actually depicts an episode from the Gospel of Luke (7:36-50), in which Christ dines at the house of Simon the Pharisee. During the meal, a sinful woman, having learned that Christ would be present, enters the house and anoints His feet. Only one other known painting of this subject by Francken survives, now in the collection of the Museum of Fine Arts in Rennes. Francken's fluid handling of paint and his sophisticated sense of composition are clearly evident here. In the upper half of the painting, the angels appear shaped and softened by light, creating a striking contrast with the richly detailed, earthbound table below. This compositional approach establishes a powerful interplay between the ethereal, celestial realm above and the material world below. Owing to this distinctive quality in his work, Francken's paintings were highly sought after and went on to inspire later artists such as Jan Brueghel the Elder and Peter Paul Rubens. Condition Report: The panel shows a thin vertical crack along the left edge, just to the right of the last seated figure on that side. This crack has been restored, with larger areas of restoration visible near the lower border. A few retouches are also present on the yellowish floor along the bottom edge. Under UV light, scattered areas of reinforcement can be seen on the still life on the table and on the figures behind, as well as two patches near Christ's hand and to the right of His head. Overall, the painting appears to be in good condition, with recent professional restorations. Condition Report Disclaimer, FRANS FRANCKEN THE YOUNGER (FLEMISH 1581-1642), CHRIST IN THE HOUSE OF SIMON THE PHARISEE, Oil on panel, Signed 'D. o. ffranck. in. et f.' (lower right); further titled by later hand 'The Lord's Supper' (to label, verso), 58.4 x 44.5cm (22 x 17½ in.), Provenance:, (Probably) acquired by Edward Southwell, MP (1705 - 1755) for Kings Weston House near Bristol, Thence by family descent until 2024, Literature:, Inventory of Kings Weston House Contents, , dated 27, th, December, 1777. Listed among the Paintings in Lady Clifford's Dressing Room (page 26, item 4 "The Washing of our Saviour's Feet by old Frank"), Long considered a painting by Frans Francken the Elder, this remarkable discovery is now recognised as a fine example of the work of Frans Francken the Younger. Hidden from public view for more than 250 years, it is listed in the 1777 inventory of goods from Kings Weston House, where it was located in Lady Clifford's Dressing Room. According to the inventory, it was displayed alongside works attributed to Claude Lorrain, Paul Bril, Cornelis van Poelenburch, and Godfrey Kneller. Although mistakenly recorded as, "The Washing of our Saviour's Feet by Old Frank", (Frans Francken the Elder), the quality of the painting - evident in the free, almost sketch-like yet confident brushwork of the background figures, the richly detailed table, and the small, glimmering tears suspended in mid-air from the woman washing Christ's feet - clearly reflects the hand of Frans Francken the Younger. The 18th-century attribution to Francken the Elder likely stems from the signature "D.o. ffranck," where "D.o." stands for the Flemish, de oude, , meaning "the Elder." However, this signature was actually used by Frans Francken the Younger from the late 1620s. Prior to the death of his father in 1616, he had signed his works as "the young Frans Francken.", Furthermore, the subject of the painting has been misidentified over the years, as suggested by a label on the reverse reading, "The Lord's Supper.", While the Kings Weston House records come closer to the correct subject, the painting actually depicts an episode from the Gospel of Luke (7:36-50), in which Christ dines at the house of Simon the Pharisee. During the meal, a sinful woman, having learned that Christ would be present, enters the house and anoints His feet. Only one other known painting of this subject by Francken survives, now in the collection of the Museum of Fine Arts in Rennes. Francken's fluid handling of paint and his sophisticated sense of composition are clearly evident here. In the upper half of the painting, the angels appear shaped and softened by light, creating a striking contrast with the richly detailed, earthbound table below. This compositional approach establishes a powerful interplay between the ethereal, celestial realm above and the material world below. Owing to this distinctive quality in his work, Francken's paintings were highly sought after and went on to inspire later artists such as Jan Brueghel the Elder and Peter Paul Rubens. Condition Report:, The panel shows a thin vertical crack along the left edge, just to the right of the last seated figure on that side. This crack has been restored, with larger areas of restoration visible near the lower border. A few retouches are also present on the yellowish floor along the bottom edge. Under UV light, scattered areas of reinforcement can be seen on the still life on the table and on the figures behind, as well as two patches near Christ's hand and to the right of His head. Overall, the painting appears to be in good condition, with recent professional restorations. Condition Report Disclaimer

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