Portrait of Franz Cleyn

Franz Cleyn Paintings: The 8 Most Famous, Through a Gallery's Eye

Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 8 works by Franz Cleyn in our catalogue

In short

To the gallery's eye, Franz Cleyn's most famous painting is Putti and Cupids Playing with Goats (after Polidoro da Caravaggio) (1630), whose original hangs in the National Trust, Thames. Nymphs Towing a Boat with a Nymph and Two Satyrs (after Polidoro da Caravaggio) (1630) and Putti and a Cupid Towing a Putto on a Cockleshell Boat (after Polidoro da Caravaggio) (1630) complete the trio every eye recognises. Of the 8 works by Franz Cleyn in our catalog, the gallery presents the 8 most famous below, each original with its year, its museum and what makes it unique.

1582 – 1658 Most works: National Trust

The gallery's top 10 Franz Cleyn paintings

1
Putti and Cupids Playing with Goats (after Polidoro da Caravaggio) (1630) by Franz Cleyn

Putti and Cupids Playing with Goats (after Polidoro da Caravaggio)

1630 · Oil · National Trust, Thames

In this 1630 composition, naked children engage with goats within a sun-drenched field. The scene captures a moment of uninhibited movement, where the soft, rounded limbs of the infants contrast against the irregular, textured coats of the animals. Adults observe from the periphery, grounding the playful energy of the youth within a structured social landscape. A bowl rests upon the earth near a child, while a book lies further back,…

2
Nymphs Towing a Boat with a Nymph and Two Satyrs (after Polidoro da Caravaggio) (1630) by Franz Cleyn

Nymphs Towing a Boat with a Nymph and Two Satyrs (after Polidoro da Caravaggio)

1630 · Tempera · National Trust, Thames

The work titled Nymphs Towing a Boat with a Nymph and Two Satyrs (after Polidoro da Caravaggio) was executed by the artist Franz Cleyn. Known also by the names Francis Clein or Cleyn, the painter brought this composition to life in England. The piece emerged from his hand circa 1637 - 1639. It remains a deliberate interpretation, created after the original vision of Polidoro da Caravaggio.

3
Putti and a Cupid Towing a Putto on a Cockleshell Boat (after Polidoro da Caravaggio) (1630) by Franz Cleyn

Putti and a Cupid Towing a Putto on a Cockleshell Boat (after Polidoro da Caravaggio)

1630 · National Trust, Thames

A wooden cockleshell drifts across the surface, its curved hull cutting through the quiet water. Within this small vessel, several naked figures move with a sense of purpose. One figure stands at the bow, watching the horizon, while another sits at the stern. In the center, two more figures gather, their limbs soft against the hard wood of the boat. A Cupid pulls at the vessel, his small form exerting…

4
Flora with Cupids Sporting among Clouds (1630) by Franz Cleyn

Flora with Cupids Sporting among Clouds

1630 · Oil · National Trust, Thames

Clouds drift through the upper reaches of the composition, heavy and soft like unspun wool. Within this airy expanse, Cupids move with a weightless grace, their small limbs interlaced as they play amidst the vapor. Flora occupies the center of this celestial movement, a figure of quiet elegance amidst the swirling white and grey. Below the drifting mist, a group of people gathers, their forms grounded and engaged in the…

5
Two Putti Offering a Baby a Bunch of Grapes (1630) by Franz Cleyn

Two Putti Offering a Baby a Bunch of Grapes

1630 · Oil · National Trust, Thames

In this 1630 composition, we find ourselves drawn into a quiet, intimate scene of abundance and innocence. Two putti, rendered with a graceful fluidity, lean toward a young child to offer a cluster of grapes. The setting is not a grand palace, but a rugged, natural landscape where a rocky outcropping meets a backdrop of soft trees. There is a certain stillness here, a pause in time that feels both…

6
Charles I (1600–1649) (1623) by Franz Cleyn

Charles I (1600–1649)

1623 · Oil On Canvas · Wilberforce House Museum, Hull

The portrait presents a man of the early seventeenth century, captured in a moment of direct engagement. He wears a white ruff collar, a hallmark of high-status fashion during this era. Beneath this, a gold-colored garment features intricate embroidery and lace detailing, signaling significant wealth and authority. His dark hair is styled in waves and curls that frame a face defined by a strong jawline, full lips, and a straight…

7
John Bankes (1626–1656), and Sir Maurice Williams (1599 1601–1658), His Tutor (1643) by Franz Cleyn

John Bankes (1626–1656), and Sir Maurice Williams (1599 1601–1658), His Tutor

1643 · Oil · Kingston Lacy, Wimborne Minster

In this 1643 portrait, we find ourselves in a quiet, scholarly chamber, observing a moment of quiet instruction. The composition centers on two figures whose relationship is defined by the pursuit of knowledge. On the left, the young John Bankes is captured with a serious, contemplative expression, his long hair falling naturally around a face marked by the gravity of his studies. He holds an open book, a gesture that…

The subjects that held Franz Cleyn's eye

The four subjects that come back most often in these originals, each with its finest example.

The museums that keep Franz Cleyn's originals

The 3 museums that hold the most of the paintings on this page.

Museum City Works by Franz Cleyn Paintings from this list
National Trust, ThamesNational Trust Thames 6 Putti and Cupids Playing with Goats (after Polidoro da Caravaggio), Nymphs Towing a Boat with a Nymph and Two Satyrs (after Polidoro da Caravaggio), Putti and a Cupid Towing a Putto on a Cockleshell Boat (after Polidoro da Caravaggio)
Wilberforce House Museum, HullWilberforce House Museum Hull 1 Charles I (1600–1649)
Kingston Lacy, Wimborne MinsterKingston Lacy Wimborne Minster 1 John Bankes (1626–1656), and Sir Maurice Williams (1599 1601–1658), His Tutor

Franz Cleyn, one signature painting per decade

Works per decade

Pick a decade to see the original that defines it.

Franz Cleyn's paintings: the gallery answers

Which Franz Cleyn painting is the most famous of all?Reveal the answer

Putti and Cupids Playing with Goats (after Polidoro da Caravaggio) (1630), National Trust, Thames. Nymphs Towing a Boat with a Nymph and Two Satyrs (after Polidoro da Caravaggio) (1630) and Putti and a Cupid Towing a Putto on a Cockleshell Boat (after Polidoro da Caravaggio) (1630) come next.

How old was Franz Cleyn on completing Putti and Cupids Playing with Goats (after Polidoro da Caravaggio)?Reveal the answer

48 years old: Putti and Cupids Playing with Goats (after Polidoro da Caravaggio) dates from 1630, and Franz Cleyn was born in 1582.

How many works did Franz Cleyn create?Reveal the answer

Our catalog holds 8 works by Franz Cleyn, dated from 1623 to 1643.

Where do Franz Cleyn's most famous originals hang?Reveal the answer

Mostly in National Trust (Thames), Wilberforce House Museum (Hull) and Kingston Lacy (Wimborne Minster). The museum table above lists them all.

When did Franz Cleyn create the most famous paintings?Reveal the answer

In 1630s: 5 of the 8 works on this page were made then, Putti and Cupids Playing with Goats (after Polidoro da Caravaggio) among them.

Which are Franz Cleyn's earliest and latest famous works?Reveal the answer

On this page, the earliest is Charles I (1600–1649) (1623) and the latest John Bankes (1626–1656), and Sir Maurice Williams (1599 1601–1658), His Tutor (1643).

Which subjects did Franz Cleyn return to most?Reveal the answer

Trees (3), Landscape (2) and Bowl (2), across the 8 works on this page.

Which medium did Franz Cleyn work in most?Reveal the answer

Oil, for 4 of the 8 works on this page.

Which Franz Cleyn originals does the National Trust hold?Reveal the answer

Putti and Cupids Playing with Goats (after Polidoro da Caravaggio), Nymphs Towing a Boat with a Nymph and Two Satyrs (after Polidoro da Caravaggio) and Putti and a Cupid Towing a Putto on a Cockleshell Boat (after Polidoro da Caravaggio): the National Trust, Thames holds 6 of the works on this page.

Franz Cleyn: the artist

Franz Cleyn: Weaver of Tapestries and Dreams

Franz Cleyn (c. 1582 – 1658) remains a figure shrouded in intriguing layers, a German-born painter whose legacy blossomed largely within the opulent walls of England’s Mortlake Tapestry Works. More than simply a designer, he was a master craftsman and visionary artist who blended Renaissance elegance with burgeoning Baroque sensibilities, leaving behind a body of work that continues to captivate art historians and collectors alike. His story is one of transatlantic journeys, royal patronage, and the quiet revolution brewing within the workshops of early modern Europe.

Born in Rostock, Germany, Cleyn’s artistic talent was evident from a young age. He served as a court painter for Christian IV of Denmark, producing portraits and decorative elements for the royal castle at Rosenborg. This early exposure to Danish artistry provided a foundation in meticulous detail and a keen eye for color – skills he would later refine during his extended sojourn in Italy. It was there, amidst the bustling studios of Rome and Venice, that Cleyn immersed himself in the classical traditions of Raphael and Michelangelo, absorbing their techniques and understanding of composition.

The Royal Tapestry Works

Cleyn’s arrival in England marked a pivotal moment in his career. Invited by Charles I to join the newly established Mortlake Tapestry Works – a state-sponsored initiative aimed at producing luxurious tapestries for royal use and export – he quickly ascended to a position of considerable influence. This wasn't merely a job; it was a commission to shape the aesthetic landscape of the English court. Unlike many contemporary artists who focused solely on painting, Cleyn’s expertise lay in designing the intricate cartoons that served as templates for the weavers. He meticulously planned every element – from the figures and landscapes to the borders and decorative motifs – ensuring a harmonious balance between artistic vision and technical execution.

His work at Mortlake was prolific, encompassing a diverse range of subjects: mythological scenes drawn from classical literature, biblical narratives, allegorical representations, and even elaborate grotesques—often commissioned for the decoration of country houses. The tapestries themselves were breathtaking in their scale and detail, showcasing Cleyn’s mastery of color, perspective, and composition. Notably, he was instrumental in adapting Raphael's famous "Acts of the Apostles" cartoons, producing remarkably accurate copies that became highly sought after throughout Europe.

A Style Defined by Detail and Grace

Cleyn’s artistic style is characterized by a remarkable attention to detail, a refined sense of elegance, and a subtle integration of Renaissance and Baroque elements. His figures possess a graceful fluidity, often imbued with an air of serene contemplation. He skillfully employed chiaroscuro – the dramatic interplay of light and shadow – to create depth and volume, lending his compositions a captivating realism. While heavily influenced by classical ideals, Cleyn’s work also reveals a distinctly personal vision, marked by a delicate balance between formality and expressiveness.

His contributions extended beyond tapestries; he was also involved in designing furniture upholstery, creating intricate patterns for carpets, and producing illustrations for books – including John Ogilby's English translation of Homer’s *Odyssey*. This versatility demonstrates his broad artistic capabilities and his ability to adapt his skills to diverse media.

Legacy and Recognition

Despite his significant contributions, Cleyn’s legacy was somewhat obscured during his lifetime. His meticulous attention to detail sometimes led contemporary critics to misattribute his work to other artists, particularly the Italian Mannerists like Anthony van Dyck. However, in recent decades, scholars have increasingly recognized Cleyn's unique artistic voice and his pivotal role in shaping the visual culture of 17th-century England.

Today, fragments of his tapestries can be found in museums around the world – including the Victoria and Albert Museum in London and the Louvre in Paris – offering tantalizing glimpses into the artistry of this often-overlooked master. Franz Cleyn’s story is a testament to the power of artistic vision, the enduring appeal of classical traditions, and the quiet brilliance of an artist who left an indelible mark on the history of European art.