DOI Artikel:
Sobecka, Anna: Ryciny kwiatowe wiązane z Jeremiasem Falckiem: studium z zakresu siedemnastowiecznych florilegiów
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43438#0098
Anna Poznan and in Warsaw, so far assigned to Falek, are mostly copies of etchings created
Sobecka by Jacques Vauquer.
From the frontispiece of the series Novae et exquisitae FLORUMICONES we can
conclude that Falek was not only the engraver, but also the author of the composition
(inventor). Flowers in his works do not map a particular set of a botanical collection,
but are a recommendation for an artistic representation of the plant. They could have
been a kind of a template for painters, and at the same time objects dart for collectors.
Thanks to their artistic ąualities, perfect workmanship, and attention to the highest
editorial standards, Falcks flower engravings became desirable works in the art mar-
ket, copied by other designers and reprinted by other publishers.
Ihe analysis of the preserved prints linked to Falek can also lead to a number of
generał conclusions on the functioning of the market for graphic art in the 17* cen-
tury. Florilegia were usually formed in series containing a few to a dozen composi-
tions. Herbarias cards could circulate in the form of a compact collection of a few
series together, but also in smaller folders or even as loose cards. The study shows
that they were particularly popular in 17*-century France and the Netherlands. The
inerease in production, mainly of the copies of previous cycles, occurred in the 1670s
and lasted until the early 18* century. Falek and Vauquer were copied by Gerard Valck,
Nicolaes Yisscher and many others.
Sobecka by Jacques Vauquer.
From the frontispiece of the series Novae et exquisitae FLORUMICONES we can
conclude that Falek was not only the engraver, but also the author of the composition
(inventor). Flowers in his works do not map a particular set of a botanical collection,
but are a recommendation for an artistic representation of the plant. They could have
been a kind of a template for painters, and at the same time objects dart for collectors.
Thanks to their artistic ąualities, perfect workmanship, and attention to the highest
editorial standards, Falcks flower engravings became desirable works in the art mar-
ket, copied by other designers and reprinted by other publishers.
Ihe analysis of the preserved prints linked to Falek can also lead to a number of
generał conclusions on the functioning of the market for graphic art in the 17* cen-
tury. Florilegia were usually formed in series containing a few to a dozen composi-
tions. Herbarias cards could circulate in the form of a compact collection of a few
series together, but also in smaller folders or even as loose cards. The study shows
that they were particularly popular in 17*-century France and the Netherlands. The
inerease in production, mainly of the copies of previous cycles, occurred in the 1670s
and lasted until the early 18* century. Falek and Vauquer were copied by Gerard Valck,
Nicolaes Yisscher and many others.