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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.

Falck was never forgotten. As early as 1767 in his “Dictionnaire des graveurs anciens et modernes“ published in Brussels, François Basan listed him with his first name Jérémie as a “Polish engraver who worked a lot in France during the middle of the last century”, and listed a few of his important works.[18] By the beginning of the 19th century his works were already in the most important Polish collections. In Germany the early “Allgemeine Künstler-Lexicon“ by Georg Kaspar Nagler [19] (in 1835) and the first edition of “Meyers Conversations-Lexicon“ in 1847 [20] included him with almost identical articles and a list of his most important works, erroneously with “Danzig 1709” as his birth date, but clearly about the year he died. Equally in 1847 the Danzig Legal Councillor, Wilhelm Seidel wrote extensively about Falck’s career and his artistic works in his essay entitled “News of a Danzig engraver“ published in the “Neuen preußischen Provinzialblättern“. Here he judged that “Falck’s works will be much in demand by collectors and will count amongst the excellent products of the School of Netherlands engravers.”[21] On the Polish side, in an article that appeared in 1850 in the Nuremberg periodical “Athenaeum für Wissenschaft, Kunst und Leben“ by Józef Ignacy Kraszewski listed 150 engravings by Falck [22]; and the Polish art historian Edward Rastawiecki (1804-1879) listed 317 sheets by Falck in the “Biblioteka warszawska” in 1852.[23] According to Block, over 300 works by Falck were found respectively in the collections in the Czartoryski Museum and those made by Mieczysław Pawlikowski in Lviv. The list of works drawn up by Block in 1890 drew on new research into Falck and supplemented it.[24] It seems highly unlikely that an oil painting made around 1650 and entitled “Still Life with Oysters”[25] in the Westphalian Regional Museum in the Münster comes from the hand of Jeremias Falck, despite the huge amount of publicity it aroused. Today works by Falck can be relatively easily found on the Internet, at the museums and libraries that own them, as well as on specialised search engines like “europeana collections” and “Virtuelles Kupferstichkabinett”.

 

 

Axel Feuß, May 2017

 

[18] François Basan/Joseph Ermens: Dictionnaire des graveurs anciens et modernes. Depuis l'origine de la gravure (1767), Brüssel 1791, vol 1, p. 178, https://archive.org/stream/dictionnairedesg01basa#page/178/mode/2up

[19] Georg Kaspar Nagler: Neues allgemeines Künstler-Lexicon oder Nachrichten von dem Leben und Werken der Maler, Bildhauer, Baumeister, Kupferstecher, Formschneider, Lithographen, Zeichner, Medailleure, Elfenbeinarbeiter …, München 1835, Band 4 (1837), p. 227, Digital collection of the University library in Weimar, http://digitalesammlungen.uni-weimar.de/viewer/image/PPN623487535/233/

[20] Joseph Meyer: Das große Conversations-Lexicon für die gebildeten Stände, Hildburghausen 1847, p. 745, Bayerische Staatsbibliothek digital, http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb10797950_00751.html

[21] Wilhelm Seidel: Nachrichten über Danziger Kupferstecher, in: Neue preußische Provinzial-Blätter, vol. 3, Königsberg 1847, p. 161 ff., on Falck pp. 165-171, Bayerische Staatsbibliothek OPACplus, https://opacplus.bsb-muenchen.de/metaopac/singleHit.do?methodToCall=showHit&curPos=7&identifier=100_SOLR_SERVER_1906705309&showFulltextFirstHit=true

[22] Józef Ignacy Kraszewski, in: Athenaeum für Wissenschaft, Kunst und Leben, vol. 1, Nürnberg 1850, p. 187-208

[23] Edward Rastawiecki, in: Biblioteka warszawska, vol. 1, 1856, pp. 525-550

[24] A comprehensive reading list can be found in Zabuska 2003, page 341 f.

[25] The “Still Life with Oysters”, oil on canvas, 59 x 84 cm, in the LWL-Landesmuseum für Kunst und Kulturgeschichte, Münster, Inv. Nr. 2231 LM, is attributed to Jeremias Falck on the basis of indications and the monogram on the back of the work (thanks to the kind information from Frau Judith Claus, 2017). That said, further indications cannot be found in an article by Angelika Lorenz entitled: Das Kunstwerk des Monats, Dezember 2006, Westfälisches Landesmuseum für Kunst und Kulturgeschichte Münster. Hitherto, further oil paintings by Jeremias Falck have been found neither in Poland or elsewhere. The publications to date give no indication that Falck ever made oil paintings. However publications do refer to a Dutch still life master named J. Falck “proven 1629”: U.R.: Falck (Falk), J., in: Saur Allgemeines Künstlerlexikon, vol. 36, München, Leipzig 2003, p. 239. A Vanitas still life by this J. Falck in the Indianapolis Museum of Fine Art has a similar perspective. It was completed in 1629, and is signed at the bottom right: J. Falk f. https://commons.wikimedia.org/wiki/File:J._Falk_-_Vanitas_-_1629.jpg&nb…;