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Lot Essay
Apparently the only known depiction of this subject by Francken, this panel shows a moment shortly before the more commonly represented Flagellation and Ecce Homo. Christ, brought before Pilate by the High Priest, Caiaphas, accused of treason and blasphemy, is questioned by the Roman Governor. Pilate is shown seated on an ornate gold throne, in a jewelled turban and all the trappings of earthly power, with a group of well-dressed courtiers next to him, counter-balanced by the group on the left that includes the meek figure of Christ surrounded by soldiers. To the centre of the composition sits Caiaphas denouncing the captive Christ; beyond, the next stage of the story of the Passion is enacted, with Christ stumbling on the Road to Calvary.
This panel can be dated to the latter part of Frans Francken II's successful career, from the 1620s to the early 1630s. During this period his characteristic thickly applied impastos were replaced by glazes (more fluid binding oils and several transparent layers), resulting in a more lustrous effect. The form of his signature also changed after the death of his father, Frans Francken I, in 1616, and he started signing himself, as in the present panel, 'd.o. ffranck', referring to himself as den oude, or the Elder.
This panel can be dated to the latter part of Frans Francken II's successful career, from the 1620s to the early 1630s. During this period his characteristic thickly applied impastos were replaced by glazes (more fluid binding oils and several transparent layers), resulting in a more lustrous effect. The form of his signature also changed after the death of his father, Frans Francken I, in 1616, and he started signing himself, as in the present panel, 'd.o. ffranck', referring to himself as den oude, or the Elder.