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Jeremias Falck

“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.

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  • 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. sculp: (Block 63).
  • 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.
“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.

It is unknown why Falck chose Hamburg as his destination in 1657 and how long he remained there. That said, we do know that his son Gerhard (1657-1727) was born there in August that year, and that he later worked in Danzig as a gold and silversmith, as did his sons.[14] The final known works by Falck were thirteen engravings in a book published in Cologne with sermons by the Jesuit father, Alphons Rodriguez (1526-1616), dated 1666 (Block 200). Block assumes that the artist left Hamburg that year or in the following year to retire to Danzig. However a few portraits, some title pages for books and a series of bibliophile works were also made in Hamburg.

Falck engraved portraits of the following persons in Hamburg: Christian Woldenberg (1621-1674), a lawyer who came from Krempe in Holstein and was a Professor of Law and Greek Language at the University of Rostock from 1653 to 1674 (Block 294); Konstantin Ferber (1520-1588), the Lord Mayor of Danzig, who surrendered his town to the Polish king, Stephan Báthory, in 1575, but in doing so was able to retain the historic privileges of the Hansa town (Block 233, Ill. 83); Johannes Müller (1598-1672), a Lutheran theologian, who was the chief pastor at St Peter’s Church in Hamburg and polemicised against the Jews (†1671, Block 269, Ill. 84); Hans von Schack (1609-1676), who was made the commander of the fort in Hamburg in 1656, and was later appointed a Danish Imperial councillor and Imperial Commander in 1660 (Block 278); and Johann Ulrich von Wallich (1624-1673), a lawyer, diplomat, Royal Swedish secretary and legal counsellor in Stade near Hamburg (Block 289, Ill. 85).

Presumably in 1662, Falck made 16 engravings of tulips for a work entitled “Verscheyde Nieuwe Tulpen, en andere Bloemen“; they were printed in the publishing house run by the engraver and cartographer, Frederik de Wit (1610-1698) in Amsterdam. According to Block, the title sheet was made by Cornelis Visscher, and the images of the tulips were engraved by Falck. The title page of another book of flowers published by de Wit “Novae et exquisitae florum icones“, expressly names Jeremias Falck as an engraver of printing plates and gives “Hamburg 1662” as the place and year it was made (Block 64, 65). The University library in Umeå possesses a volume in which both works can be found: it was clearly purchased from a German art or antiques merchant for the Swedish School Museum (Svenska skolmuseet) that was founded in 1908 (siehe PDF). Block saw three further series of images of flowers in a collection in the Poznan Museum (Block 66-68). In 1664 Falck used an outline by Adolph Boy to make an engraving for the title page of a historical political work entitled “Monita politico-moralia” by the writer and sheriff of Podolia, Andrzej Maksymilian Fredro (ca. 1620-1679). This sheet shows scales held by the hand of God, in front of the silhouette of the town of Danzig. The volume was published by Georg Förster in Danzig (Block 202).[15] A work entitled the “Machina coelestis“ by Johannes Hevelius only came to light in 1673 after Falck’s death: here the Danzig astronomer describes the instruments he used to observe the heavens. The title engraving by Jeremias Falck based on an outline by Adolf Boy, shows Hevelius and the Greek astronomer, Ptolemäus (ca. 100-160), seated and studying a globe of the heavens, with Nicolas Copernicus and Tycho Brahe standing beside them (Block 198, Ill. 86).

A series of engravings of 25 letters from the Latin alphabet made by Falck in Hamburg has achieved fame far and wide: they were probably made from designs created by a goldsmith from Dithmarschen, named Johann Christian Bierpfaff (ca. 1600 – ca. 1675), who arrived in Kraków and Warsaw on his travels in 1643, was promoted to the post of court goldsmith only three years later and, amongst others, was commissioned to make silver coffins for the Polish kings on Wawel hill. In 1653 Bierpfaff was appointed to the post of Master Goldsmith in Toruń – it was the hometown of Falck’s forefathers – and settled there [16]. The series entitled “Libellus novus elementorum latinorum” was intended to be a teaching work for silversmiths. It shows the Latin letters, some of which have extremely bizarre decorative elements featuring shells and mussels. Each sheet is signed with the initials of the designer, “J.C.B.”, and those of the engraver, “J.F”. Block saw the sheets in the Czartoryski Museum in Kraków and in the Museum of Breslau. Nowadays a complete series can be found in the Rijksmuseum in Amsterdam (Block 63, Ill. 87, 87a-z). Some authors still claim that Falck might have died in 1664 in Hamburg:[17] this is highly improbable because Block documented his burial in the church of St Peter and Paul in Danzig in 1777 (more correctly 1771). That said, it is not completely out of the question.

 

[14] B. Tuchołka-Włodarska: Falck, Gerhard, in: Saur Allgemeines Künstlerlexikon, vol. 36, München, Leipzig 2003, p. 338; compare also Johannes Demandt 1999 (see note. 3), p. 17

[15]  A copy can be found in the Niederschlesischen Bibliothek in Breslau/Dolnośląska Biblioteka Publiczna im. Tadeusza Mikulskiego we Wrocławiu. Digital version in the Dolnośląska Biblioteka Cyfrowa, the title page with the engraving by Falck is on page 7, http://www.dbc.wroc.pl/dlibra/docmetadata?id=7936&from=&dirids=1&ver_id=&lp=1&QI=BE9298CAE06798A70313C2B52477D8DC-15

[16] J. Tandecki: Bierpfaff, Johann Christian, in: Saur Allgemeines Künstlerlexikon, München, Leipzig 1995, p. 577 f.

[17] Finally Zabuska 2003, page 339