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Jeremias Falck

“Christ being Mocked with a Crown of Thorns”, ca. 1645
“Christ being Mocked with a Crown of Thorns”, ca. 1645. Engraving, 57.1 x 42.6 cm. Based on a painting by Anthonis van Dyck (1599-1641), published by Herman Weyen in Paris. Indicated at the bottom: Ant. van Dijck pinxit, J. Falck fecit.

According to the Danzig City Councillor and author of a catalogue of works published in 1890 in Danzig, Julius C. Block, Jeremias Falck was “born in a German city, a German artist […] But merit should primarily go to our eastern neighbours, the Poles, for finding Falck’s work through the most diligent and continuous research and publicity. It must have been this that caused them to think that Falck was a Polish artist. That said he did sign his own works with the name “Polonus”, and others however with “Gedanensins”, as well as with “Sueciae Calcographus” on some engravings he completed in Stockholm” (PDF, p. 12 f.) As a rule the German variation of his name, Jeremias, (in Polish Jeremiasz) is used. But of course, Block was well aware that Falck was not a member of the Lutheran faith but committed to the reformed faith. This does not mean that we can exclude any German origins: it simply makes them less likely. In 1646 and 1649 he was inscribed as a godfather into the baptismal register of the reformed Church of St Peter and Paul in Danzig, the main church of the local Calvinists. In 1650 he was married there to Anna, the daughter of a merchant by the name of Arnold Mercator. And in 1671 he was laid to rest beneath a grave plate in the church. (PDF, p. 7 f., 12).[1]

From the mid-16th century the reformed confession spread from Switzerland into a huge number of countries in Europe due to the reformed Protestant influence of Ulrich Zwingli (1484-1531) and Johannes Calvin (1509-1564). The first reformed parishes in Danzig were set up by a few hundred citizens from the Netherlands who hade fled between 1567 and 1570 from the religious persecution by the Spanish Vice-Regent in the Netherlands, Fernando Herzog von Alba (1507-1582), and settled as foreigners outside the city, amongst others in Neugarten. In 1587 there were as many as 14 Calvinist preachers active in Danzig churches. From 1600 onwards the Dutch began to celebrate Holy Communion in the Church of the Holy Trinity under a chaplain from St. Peters Church. The Prussian reformed parish settled here during this time. .[2]  The ancestors of Jeremias can be traced back to a certain Franz Falck, who died in Thorn in 1590.[3]

In 1646 and 1649 Jeremias became a godfather of children who simultaneously had Dutch godparents. A note in the baptismal register in St Peters Church, dated 18 September 1646, mentions that he was the godfather of a child belonging to his brother Hans. Further godparents were Anna Hondius, the daughter of a Dutch engraver Willem Hondius (1597-1652/58), who had been living in Danzig since 1636, and Anna Mercator (1620-1672), the daughter of the merchant Arnold Mercator († 1641) and great-granddaughter of the famous cartographer from Flanders, Gerhard Mercator (1512-1594). Jeremias was presumably trained by Willem Hondius. On 25 February he replaced Arndt Mercator as the godfather of the son of Peter and Elizabeth Bex, (PDF, p. 7). In the following year, on 9 June 1650 he married Anna Mercator (PDF, p. 8). When we consider that communion was taken at all these family religious occasions and that this was not possible in an interdenominational fashion, it seems obvious that Falck also came from a Dutch family. Indeed Hans Falck, by profession a cutler, is registered as living “in Neugarten“ (PDF, p. 7). Later generations of the Falcks remained true to the reformed faith and the church of St Peter and Paul. One of these was the parish wigmaker and provost of the poor, Johann Daniel Falk the Elder (1737-1808), who married a woman from a Huguenot family from the French reformed community. Another was their son, the lay theologian, writer and composer of hymns, Johannes Daniel Falk (1768-1826). Both of them clearly felt a bond with the German middle and upper-class residents of Danzig.[4]

 

[1] For the date of Falck’s death Block quotes the gravestone book of the church of St Peter and St Paul in Danzig: “1677. On 7 February after cleaning the grave of Herr Hans Minckhaus, Jeremias Falck was buried there in the choir and by the altar, stone ‘Nr. 4’.” That said, in 1953 the genealogist Oskar Leistikow discovered that Falck had already died before the marriage of his daughter Susanna Maria in 1676 in the Market Church in Hanover. It has been shown that if you look again at the gravestone book of the church of St Peter in Danzig, that they year can be interpreted in two ways. Hence we must assume that the year in which he died must have been 1671.

[2] Erwin Pritzel: Geschichte der Reformierten Gemeinde zu St. Petri-Pauli in Danzig 1570-1940, Danzig 1940. pp. 9-16

[3] Johannes Demandt: Johannes Daniel Falk. Sein Weg von Danzig über Halle nach Weimar (1768-1799) = Arbeiten zur Geschichte des Pietismus, 36, Göttingen 1999, p. 17, note 7 (further reading is also given there)

[4] Ibid., pp. 17-19

Mediathek Sorted

Media library
  • Catalogue of work

    J.C.Block: Jeremias Falck. Sein Leben und seine Werke, Danzig, Leipzig, Wien 1890
  • Livre de Portraiture, 1641

    Giovanni Francesco Barbieri, known as Il Guercino (1591-1666): Livre de Portraiture, Paris 1641, engravings by Jeremias Falck (Block 172).
  • Blumenwerke, 1662

    “Verscheyde Nieuwe Tulpen, en andere Bloemen” and “Novae et exquisitae florum icones“, with engravings by Jeremias Falck, Hamburg 1662, published by Frederik de Wit in Amsterdam (Block 64, 65), bound ...
  • ll. 1: Anne Marie Louise d'Orléans, 1642

    After a painting by Justus van Egmont, Metropolitan Museum of Art, New York
  • Ill. 2: King Louis XIII, 1643

    After a painting by Justus van Egmont, British Museum, London.
  • Ill. 3: Anna of Austria, 1643

    After a painting by Justus van Egmont, British Museum, London.
  • Ill. 4: Louis XIV as a child, 1646/47

    After a painting by Justus van Egmont, British Museum, London.
  • Ill. 5: Ludowika Maria Gonzaga, 1645

    After a painting by Justus van Egmont, Austrian National Library, Vienna.
  • Ill. 6: Nicolaus Copernicus, 1644

    Based on an unknown painting, Rijksmuseum Amsterdam.
  • Ill. 7: Tycho Brahe, 1644

    Based on an unknown work, Austrian National Library, Vienna.
  • Ill. 8: Gran Mogor, ca. 1645

    Akbar the Great of von India, based on a painting by Claude Vignon, British Museum, London.
  • Ill. 9: Willem Blaeu, 1645

    Based on an unknown work, Rijksmuseum Amsterdam.
  • Ill. 10: Adriaan van den Spiegel, 1645

    Based on an unknown work, Rijksmuseum Amsterdam.
  • Ill. 11: Allegory of January, 1645

    After a painting by Joachim von Sandrart, Rijksmuseum Amsterdam.
  • Ill. 12: Allegory of March, 1645

    After a painting by Joachim von Sandrart, Rijksmuseum Amsterdam.
  • Ill. 13: The Day, 1645

    After a painting by Joachim von Sandrart, Rijksmuseum Amsterdam.
  • Ill.14: The Morning, 1645

    After an unknown work, Rijksmuseum Amsterdam.
  • Ill. 15: Noon, 1645

    After an unknown work, British Museum, London.
  • Ill. 16: Evening 1645

    After an unknown work, British Museum, London.
  • Ill. 17: Night, 1645

    After an unknown work, National Library of Warsaw/Biblioteka Narodowa w Warszawie.
  • Ill. 18: Springtime, 1645

    After an unknown work, British Museum, London.
  • Ill. 19: Summer, 1645

    After an unknown work, British Museum, London.
  • Ill. 20: Autumn, 1645

    After an unknown work, British Museum, London.
  • Ill. 21: Winter, 1645

    After an unknown work, British Museum, London.
  • Ill. 22: The Assyrians,1645

    After an outline by Claude Vignon, Rijksmuseum Amsterdam.
  • Ill. 23: The Meders, 1645

    Based on a work by Claude Vignon, Rijksmuseum Amsterdam.
  • Ill. 24: The Greeks, 1645

    Based on a work by von Claude Vignon, Austrian National Library, Vienna.
  • Ill. 25: The Romans, 1645

    Based on a work by Claude Vignon, Austrian National Library, Vienna.
  • Ill. 26: Maria, Jesus and John the Baptist, 1645

    After a painting by Jacques Stella, Rijksmuseum Amsterdam.
  • Ill. 27: Christ on the Mount of Olives, ca. 1645

    After a painting by Guido Reni, Rijksmuseum Amsterdam.
  • Ill. 28: The Entombment of Christ, ca. 1645

    Based on a painting by an unknown Master, Rijksmuseum Amsterdam.
  • Ill. 29a: Matthew, ca. 1645

    Based on a work by Pieter van Mol, Teylers Museum, Haarlem.
  • Ill. 29b: Mark, ca. 1645

    Based on a work by Pieter van Mol, Teylers Museum, Haarlem.
  • Ill. 29c: Luke, ca. 1645

    Based on a work by Pieter van Mol, Teylers Museum, Haarlem.
  • Ill. 29d: John, ca. 1645

    Based on a work by Pieter van Mol, Teylers Museum, Haarlem.
  • Ill. 30: Gate of Honour, 1646

    After Adolf Boy, National Museum of Warsaw/Muzeum Narodowe w Warszawie.
  • Ill. 31: Gate of Honour, 1646

    After Adolf Boy, National Library of Warsaw/Biblioteka Narodowa w Warszawie.
  • Ill. 32: Title copper plate, 1646

    Describing the Gate of Honour by Andreas Scato, Danzig 1646, based on an unknown work, Rijksmuseum Amsterdam.
  • Ill. 33: Title copper plate, 1647

    For a book by Jerzy Ossoliński: Orationes (English: Orations), Danzig 1647, University Library, Danzig/Biblioteka Uniwersytetu Gdańskiego.
  • Ill. 34: Title copper plate, 1647

    For Johannes Hevelius: Selenography of the Description of the Moon, Danzig 1647.
  • Ill. 35: Johannes Hevelius, 1647

    After a painting by Helmich van Tweenhuysen II., Rijksmuseum Amsterdam.
  • Ill. 36: Friedrich Wilhelm von Brandenburg, 1647

    Presumably based on a painting by Govaert Flinck, National Library of Warsaw/Biblioteka Narodowa w Warszawie.
  • Ill. 37: Daniel Dilger, 1648

    After a painting by Salomon Wegner, Rijksmuseum Amsterdam.
  • Ill. 38: Christina of Sweden, 1649

    After a painting by David Beck, Rijksmuseum Amsterdam.
  • Ill. 39: Carl Gustav von der Pfalz, 1649

    After a painting by David Beck, Rijksmuseum Amsterdam.
  • Ill. 40: Magnus de La Gardie, 1649

    After a painting by David Beck, Austrian National Library, Vienna.
  • Ill. 41: Louis de Geer, 1649

    After a painting by David Beck, Rijksmuseum Amsterdam.
  • Ill. 42: Lennart Torstensson, 1649

    After a painting by David Beck, Rijksmuseum Amsterdam.
  • Ill. 43: Gabriel B. Oxenstierna, 1650

    After a painting by David Beck, Rijksmuseum Amsterdam.
  • Ill. 44: Robert Graf Douglas, 1651

    After a painting by David Beck, Rijksmuseum Amsterdam.
  • Ill. 45: Friedrich von Hammerstein, 1651

    After a painting by David Beck, Rijksmuseum Amsterdam.
  • Ill. 46: Gustav Horn, 1651

    After a painting by David Beck, Rijksmuseum Amsterdam.
  • Ill. 47: Hans Christoph Graf von Kingsmarck, 1651

    After a painting by David Beck (or Matthäus Merian), Austrian National Library, Vienna.
  • Ill. 48: Axel Lillie, 1651

    After a painting by David Beck, Rijksmuseum Amsterdam.
  • Ill. 49: Arvid Wittenberg, 1651

    After a painting by David Beck, Rijksmuseum Amsterdam.
  • Ill. 50: Axel Oxenstierna, 1652

    After a painting by David Beck, Rijksmuseum Amsterdam.
  • Ill. 51: Christina of Sweden, 1653

    After a painting by David Beck, Teylers Museum, Haarlem.
  • Ill. 52: Karl X Gustav, 1654

    Based on an unknown painting, Austrian National Library, Vienna.
  • Ill. 53: Carl Gustav Wrangel, 1655

    After a painting by David Klöcker Ehrenstrahl.
  • Ill. 54: Władysław IV. Wasa, 1650

    Based on an unknown painting, Austrian National Library, Vienna.
  • Ill. 55: Maciej Łubieński, 1652

    Based on an unknown painting, National Library of Warsaw/Biblioteka Narodowa w Warszawie.
  • Ill. 56: Achacy Przyłęcki, 1652

    After a painting by Daniel Schultz, National Library of Warsaw/Biblioteka Narodowa w Warszawie.
  • Ill. 57: Hieronim Radziejowski, 1652

    After a painting by Hendrick Munnichhoven.
  • Ill. 58: Jerzy Sebastian Lubomirski, 1653

    After a painting by Daniel Schultz, National Library of Warsaw/Biblioteka Narodowa w Warszawie.
  • Ill. 59: Łukasz Opaliński, 1653

    After a painting by Daniel Schultz, National Library of Warsaw/Biblioteka Narodowa w Warszawie.
  • Ill. 60: Bogusław Radziwiłł, 1654

    After a painting by Daniel Schultz, Rijksmuseum Amsterdam.
  • Ill. 61: Piotr Gembicki, 1650/55

    Based on an unknown painting, National Library of Warsaw/Biblioteka Narodowa w Warszawie.
  • Ill. 62: Andrzej Leszczyński, 1650/55

    Based on an unknown painting, National Library of Warsaw/Biblioteka Narodowa w Warszawie.
  • Ill. 63: Bogusław Leszczyński, 1650/55

    After a painting by Daniel Schultz, National Library of Warsaw/Biblioteka Narodowa w Warszawie.
  • Ill. 64: Wacław Leszczyński, 1650/55

    Based on an unknown painting, National Library of Warsaw/Biblioteka Narodowa w Warszawie.
  • Ill. 65: Jerzy Ossoliński, 1650/55

    After a painting by Bartholomäus Strobel, National Library of Warsaw/Biblioteka Narodowa w Warszawie.
  • Ill. 66: Jerzy Tyszkiewicz, 1650/55

    Based on an unknown painting, National Library of Warsaw/Biblioteka Narodowa w Warszawie.
  • Ill. 67: Helmich van Tweenhuysen, 1650/55

    Based on an unknown painting, Teylers Museum, Haarlem.
  • Ill. 68: Friedrich III of Denmark, 1655

    Based on an unknown painting, Austrian National Library, Vienna.
  • Ill. 69: Esau sells his Birthright, 1655/57

    After a painting by Matthias Stomer, British Museum, London.
  • Ill. 70: The Adoration of the Shepherds, 1655/57

    After a painting by Lorenzo Lotto, National Library of Warsaw/Biblioteka Narodowa w Warszawie.
  • Ill. 71: Christ in the Temple, 1655/57

    After a painting by Andrea Schiavone, Teylers Museum, Haarlem.
  • Ill. 72: Mary with the Baby Jesus, 1655/57

    After a painting by Andrea del Sarto, Teylers Museum, Haarlem, Public Domain.
  • Ill. 73: The Veneration of the Holy Family, 1655/57

    After a painting by Bonifazio Veronese, Rijksmuseum Amsterdam.
  • Ill. 74: The Carrying of the Cross, 1655/57

    After a painting by Jacopo Bassano, Teylers Museum, Haarlem.
  • Ill. 75: The Ecstasy of Saint Paul, 1655/57

    After a painting by Johann Liss, Rijksmuseum Amsterdam.
  • Ill. 76: The Vision of Saint Peter, 1655/57

    After a painting by Domenico Fetti, National Gallery of Art, Washington, DC.
  • Ill. 77: Old Lady at her Toilet Table, 1655/57

    After a painting by Bernardo Strozzi, National Gallery of Art, Washington, DC.
  • Ill. 78: The Concert, 1655/57

    After a painting by Giorgione, Teylers Museum, Haarlem.
  • Ill. 79: The Prodigal Son with the Harlots, 1655/57

    After a painting by Johann Liss, Rijksmuseum Amsterdam.
  • Ill. 80: Queen Semiramis, 1655/57

    After a painting by Guercino, Teylers Museum, Haarlem.
  • Ill. 81: Singing Couple, 1655/57

    Based on a work by a Dutch Master, Staatliche Kunstsammlungen Dresden.
  • Ill. 82: John the Baptist preaching a Sermon, 1655/57

    After a painting by Abraham Bloemaert, Rijksmuseum Amsterdam.
  • Ill. 83: Konstantin Ferber, 1658/63

    After a painting by Adolf Boy, National Library of Warsaw/Biblioteka Narodowa w Warszawie.
  • Ill. 84: Johannes Müller, ca. 1662

    After a painting by Gerd Dittmers, National Library of Warsaw/Biblioteka Narodowa w Warszawie.
  • Ill. 85: Johann Ulrich von Wallich, 1662

    After a painting by Gerd Dittmers, Rijksmuseum Amsterdam.
  • Ill. 86: Title Engraving 1673

    for Johannes Hevelius: Machina coelestis, Danzig 1673.
  • Ill. 87: The Alphabet, ca. 1662

    Title page for the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87a: The letter A, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87b: The letter B, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87c: The letter C, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87d: The letter D, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87e: The letter E, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87f: The letter F, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87g: The letter G, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87h: The letter H, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87i: The letter I, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87k: The letter K, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87l: The letter L, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87m: The letter M, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87n: The letter N, ca. 1662

    The letter N from the series Libellus novus elementorum latinorum, ca. 1662. Engraving after a template by Johann Christian Bierpfaff (ca. 1600-ca. 1675), 20.8 x 17.7 cm, signed bottom right: J.F. scu...
  • Ill. 87o: The letter O, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87p: The letter P, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87q: The letter Q, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87r: The letter R, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87s: The letter S, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87t: The letter T, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87v: The letter V , ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87w: The letter W, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87x: The letter X, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87y: The letter Y, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.
  • Ill. 87z: The letter Z, ca. 1662

    From the series Libellus novus elementorum latinorum, after a template by Johann Christian Bierpfaff.