Frans Francken the Younger

The copper plate is flat and stable, the paint surface is quite dirty and the varnish is rather discoloured. Inspection under ultraviolet light reveals small scattered spot retouchings in the lower right corner and in the end of the tablecloth, above the group of figures on the right, in the upper right corner, in the background of the central canopy, in the upper right corner, and in Christ's red cloak (visible in the catalogue illustration). There are also tiny scattered losses throughout, particularly in all four corners, but the painting is otherwise largely untouched and in good condition.
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Francken the Younger painted multiple versions of this scene of the Marriage at Cana.¹ Ursula Härting suggests that his treatments of the subject are influenced by Frans Francken the Elder (1542–1616), particularly with regard to the inclusion of multiple figures and highly detailed stage-like compositions and diverse costumes, whilst managing to retain a clear narrative.² In particular, Härting references a painting of this subject by Francken the Elder, in a private collection in Spain, as being the first example of the stage-like setting for the dinner, with an open terrace to the left, as we see here.³ The precedent set by Francken the Elder was followed closely by his son and, as here, we see in each of his Feasts at Cana the same opening at the left, the same positioning of the figure of Christ at the left, and the same long banqueting table running parallel to the picture plane, with tapestries on the back walls.

1. U. Härting, Frans Francken der Jüngere, Freren 1989, p. 269–271, cat. nos 151–158.
2. Härting 1989, p. 20.  
3. Härting 1989, p. 21, fig. 17.