View full screen - View 1 of Lot 8. Neptune and Amphitrite |《涅普頓與安菲特里忒》.

Frans Francken the Younger

Neptune and Amphitrite |《涅普頓與安菲特里忒》

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- 80,000 GBP

Property from a European Private Collection | 歐洲私人收藏

Frans Francken the Younger

Frans Francken the Younger

Neptune and Amphitrite |《涅普頓與安菲特里忒》

Neptune and Amphitrite |《涅普頓與安菲特里忒》



- 80,000 GBP

Lot sold:



Property from a European Private Collection


Frans Francken the Younger


Antwerp 1581 - 1642

Neptune and Amphitrite


signed lower right: f·franck · iN F fe

款識:藝術家簽名f·franck · iN F fe(右下)

oil on oak panel


53.6 x 75.2 cm.; 21 1/8 x 29 5/8 in.

53.6 x 75.2 公分;21 ⅛ x 29 ⅝ 英寸

The following condition report is provided by Henry Gentle who is an external specialist and not an employee of Sotheby's:

Frans Francken

Neptune and Amphitrite

Oil on panel, in a modern gilt wood frame in good condition


The oak panel support is cradled. The panel is stable and flat.


There is a repaired horizontal join, which is very slightly stepped.


Minor paint loss along the join has been replaced.


The paint layer is secure and stable and in very good original condition.


Under u-v light the minimal paint loss along the join is visible , along with very slight scattered loss , mostly concentrated to an area below the join and centrally through the figures, here.


The paint texture, impasted highlights, delicate glazes and fine details are very well preserved.


Chromatic integrity and tonal nuance are undiminished.

"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.


Duca del Gesso, Naples;

Giovanni Andrea de Marinis, Marchese di Genzano, Naples, before 1824;

By whom bequeathed to his son-in-law, Giuseppe de Sangro, 3rd Prince of Fondi (1776–1837), Palazzo del Principe di Fondi, Naples;

Thence by descent in the De Sangro family collection, Naples, until 1895;

Their sale, Naples, Palazzo Fondi, 22 April – 1 May 1895 (this lot, 1 May 1895), lot 721;

Sasso collection, Rome, by 1946;

Anonymous sale, New York, Sotheby's, 7 June 1984, lot 71;

With Galerie Robert Finck, Brussels, by 1985;

From whom acquired, in 1987, by the present owner.

Inventario dei dipinti di proprietà del marchese di Genzano, Giovann' Andrea de Marini, 1824, Archivio di Stato di Napoli, Archivio privato de Sangro;

Catalogo de' quadri componenti la galleria del Principe di Fondi. Strada Fontana Medina n. 24, 1860-90, Archivio Centrale dello Stato, Min. P.I., Dir., Gen. AA.BB.AA., Div. Musei, Gallerie e Pinacoteche, Naples, b. 250, fasc. 117–121, listed in the 'Prima stanza a fronte di strada dopo la galleria', no. 182.7;

O. Turchetti, Napoli e il suo congresso, Napoli al cospetto della civiltà contemporanea, Pistoia 1846, p. 183;

S. D’Aloe, Naples ses monuments et ses curiosités, Naples 1847, p. 330;

Mostra di antiche pitture Olandesi e Fiamminghe, exh. cat., Rome 1946, pp. 10-11, cat. no. 5, reproduced;

U. Härting, Studien zur Kabinettbildmalerei des Frans Francken II. 1581–1642. Ein repräsentativer Werkkatalog, Hildesheim 1983, no. A213a;

U. Härting, Frans Francken der Jüngere (1581–1642). Die Gemälde mit kritischem œuvrekatalog, Freren 1989, pp. 99 and 312, no. 284, reproduced;

G. Manieri Elia, 'La quadreria napoletana de Marinis-de Sangro dall’influenza del classicismo romano al dissolvimento del collezionismo aristocratico', in E. Debenedetti, Collezionismo e ideologia: mecenati, artisti, teorici dal classico al neoclassico, Rome 1991, p. 333, no. 182.7 (1860-90 inventory);

M. Savarese, 'La collezione de Sangro dei principi di Fondi in tre inediti inventari di famiglia: da quadreria seicentesca a moderna raccolta di arti decorative', in Napoli nobilissima, July 2006, vol. VII, 5/6, pp. 203 and 206 (1824 inventory).

Rome, Studio La Finestra, Mostra di antiche pitture Olandesi e Fiamminghe, 4 April - 15 May 1946, no. 5.

The Triumph of Neptune and Amphitrite was a subject clearly favoured by Francken and his contemporaries, as he treated the theme in at least twenty-two iterations and in a number of different ways. The present composition is one of three versions of this design; the other two paintings, of similar dimensions, are in the Galleria Palatina, Florence (inv. no. 1068) and the Kunstmuseum, Göteborg (inv. no. 327).1

The King and Queen of the Sea are pictured here riding a shell-like chariot pulled by six sea-horses, or hippocamps, with a procession of Tritons and Nereids in their wake, carrying fish, shells, and other treasures of the deep. Other gods dine at a feast in a grotto on the far shore. In comparison with the other versions, the foreground in the lower right corner of this panel is slightly more spacious to allow for the depiction of finely-executed reeds and, similar to those in the Galleria Palatina painting, a particularly beautiful collection of delicately rendered shells.


The Sangro collection was one of the most famous and highly-regarded in 19th-century Naples, research into which has been made possible only in relatively recent years, following the discoveries of two 19th-century inventories in the Neapolitan State Archives (see Literature). Giovanni de Marinis, Marchese di Genzano, was from an aristocratic family of Genoese origin, and a relation of the Cattaneo and Grimaldi families; his daughter, Maria Costanza's marriage to Giuseppe de Sangro marked the end of the Marinis line, and the transferral of the collection, begun by Giangiacomo de Marinis (1698–1765) Giovanni's uncle, to the Sangro family. Amongst some 300 paintings were works by Correggio, the Carraccis, Reni, Guercino, Sassoferrato, Titian, Tintoretto, Giordano, Cranach, Fabris, Volaire and Tischbein, along with an extensive collection of porcelain, maiolica, bronzes, and tapestries; the Sangro sale in 1895, necessitated by financial difficulty, comprised 749 lots.

1 See Härting 1989, pp. 312–13, nos 283–85, all reproduced.