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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.

There is no written evidence that Jeremias Falck was first trained in the art of engraving by Willem Hondius. But this seems probable because of their family ties and the stylistic similarities between Falck’s portraits and those of Hondius. Falck lived and worked in Paris between 1639 and 1645. In terms of style his works correspond with French and Dutch art, as practiced in the graphic and painting workshops of Abraham Bosse (1602/04-1676), François Chauveau (1613-1676) and Cornelis Bloemaert (1603-1692). In Paris he collaborated with leading artists and publishers like the painter from Leiden, Justus van Egmont (1601-1674), the Dutch engraver Guillaume de Gheyn (*ca. 1610), the Paris court painter and graphics’ merchant, Jean Le Blond (ca. 1636-1709), the engravers who were active in the middle of the century Jean-Baptiste Humbelot, François Mazot and Jérôme David (ca. 1605-1670), the graphics merchant and bookseller, publisher and painter, François Langlois (L'Anglois), known as Chartres or Ciartres (1588-1647) and the Flemish engraver and publisher, Herman Weyen (1638-1669).

We may presume that in his first years in Paris Falck worked as an apprentice in the workshops of the engravers there, that he was regarded as inexperienced and therefore not allowed to identify himself by name on his works. One of these early works was a book used for drawing lessons and a template book for engravers with details of the human body and images of male and female breasts based on drawings by the Bologna painter Giovanni Francesco Barbieri, known as Il Guercino (1591-1666). The book contains 23 engravings by Falck, none of which was signed. It was published in Paris by Weyen in 1641 under the title “Livre de Portraiture” (Block 172). At the time Block drew up his catalogue of works in 1890 a complete copy could be found in the Poznan Museum; today there is an incomplete copy in the university library in Heidelberg (see PDF).

In 1642 Falck began to engrave portraits of the French royal family based on paintings by the South Netherlands painter, Justus van Egmont, who had emigrated to France in 1628 after studying in Antwerp and working in the workshop of Peter Paul Rubens (1577-1649). In Paris he became the court painter for Louis XIII and Louis XIV. The first of these portraits was that of Anne Marie Louise d’Orléans (1627-1693), the niece of Louis XIII, whose membership of the royal family is made clear by her crown, her ermine cape and the lilies on her dress. On the engraving the author of the original painting is named as Justus d’Egmont: he is also simultaneously named as the publisher and his address is given. Falck signed it with the words “F. sculpsit” (English: engraved it) (Block 210, Ill. 1). In 1643 there followed a portrait of King Louis XIII (1601-1643) (Block 259, Ill. 2) and a portrait of Anna of Austria (1601-1666), who was called the Queen of France and Navarre on the engraving. Although she married Louis XIII in 1615, in reality she was Anna Maria Mauricia of Spain, archduchess of Austria. She was the mother of Louis XIV, and regent of the country between 1643 and 1651 (Block 209, Ill. 3). Both engravings name Egmont as the original painter and publisher, but now the engraver proudly wrote his full name: “Falck fecit” (English: did it). Two engravings of Louis XIII on horseback, one based on a painting by Jean Le Blond, were discovered by Block in Polish collections, namely in the Czartoryski Museum in Kraków/Muzeum Książąt Czartoryskich w Krakowie and in the collection belonging to Mieczysław Gwalbert Pawlikowski (1834-1903) in Lviv. In 1646 Falck made a portrait based on a painting by Egmont showing Louis XIV as a child beneath the Royal Crown, wearing an ermine cape and carrying a baton. Block saw a duplicate, made in the following year, in the Czartoryski Museum; today one can be found in the British Museum in London (Block 262, Ill. 4). Falck did not sign his 1645 portrait of Ludowika Maria Gonzaga, who married Władysław IV Wasa in the same year to become Queen of Poland. Born in Paris as Luisa Maria Gonzaga (1611-1667) she was intended to marry the Duke of Orleans in 1627 until the French king forebad the marriage. In 1640 she set up a literary salon in Paris where she met Johann II Kasimir Wasa, the brother of the Polish king. When Władysław IV died three years after their marriage, she married Johann and became the Queen of Poland, Grand Duchess of Lithuania and titular Queen of Sweden for the second time (Block 258, Ill. 5).