Gerson Digital : Germany I

RKD STUDIES

6.4 Still-Life

A typical example of a mixed Flemish-Dutch style can be seen in the works of Carl Wilhelm de Hamilton (1668-1754), a son of the Scottish-born painter Jacob [James] Hamilton. Carl Wilhelm became court painter to bishop Alexander Sigismund von der Pfalz-Neuburg. Occasionaly he painted still-lifes with thistles, herbs and snakes, just like Otto Marseus van Schrieck [1-5].1 Furthermore there are very decorative works by his hand that show clearly that he studied in Brussels. Maybe Hamilton is identical to the painter by the same name that was active at the court in Baden from 1699-1709. The elder Franz de Hamilton, whom we already encountered in Brandenburg and Hannover, also worked in Southern Germany.2 However, we don’t have to pay much attention to this member of the family, since the still-lifes Franz de Hamilton created at the end the century are more Flemish than Dutch in style.

1
Carl Wilhelm de Hamilton
Forest still life with foliage, a snake and lizard, butterflies and insects,
panel, oil paint 30,5 x 22,5 cm
center right : C. W. D. Hamilton
Lyon, Musée des Beaux-Arts de Lyon, inv./cat.nr. A 114


2
Carl Wilhelm de Hamilton
Still life with a thistle, boletus, snail, lizard, butterflies and a bee in a mountainous landscape, last quarter 17th century
canvas, oil paint 29,8 x 22,8 cm
lower left : .MR[U?]K
Cambridge (England), Fitzwilliam Museum, inv./cat.nr. PD.39-1975

3
Carl Wilhelm de Hamilton
Forest floor still life with a snake, snails and butterflies,
copper, oil paint 29,5 x 20,6 cm
Bonhams (London (England)) 2003-12-10, nr. 2


4
Carl Wilhelm de Hamilton
A forest floor still life with a lizard, snails and butterflies,
copper, oil paint 29,5 x 20,6 cm
Bonhams (London (England)) 2003-12-10, nr. 2

5
Carl Wilhelm de Hamilton
Forest still life with foliage, a snake, a lizard, butterflies and insects,
panel, oil paint 41 x 28,5 cm
Dorotheum (Vienna) 2013-04-17, nr. 582


Since Carl Wilhelm de Hamilton carried us into the 18th century, we can add Johann Falch (1687-1727). In a similar way as Hamilton, Falch made paintings with lizards, butterflies and thistles that are confusingly similar to works of Marseus von Schriek [6-10].3

6
Johann Falch
Forest still life with flowering plants, lizard, snail and butterflies,
canvas, oil paint 38 x 28 cm
: Falch.
Albert Kende 1938-02-17 - 1938-02-19, nr. 378


7
Johann Falch
Forest still life with a snake, a lizard and other animals,
panel, oil paint 34,3 x 27,3 cm
lower center : JFalc[..] [JF in ligature]
Sotheby's 2017-01-27, nr. 427

8
Johann Falch
Forest still life with flowering plant, lizard, snails and insects,
canvas, oil paint 36,4 x 27,8 cm
: Falch
Sint Petersburg (Rusland)/Warschau, private collection Jan Popławski


9
Johann Falch
Forest still life with a snake, snail and butterflies, c. 1710-1720
panel, oil paint 35,5 x 25,4 cm
lower right : Falch.
Augsburg, Städtische Kunstsammlungen Augsburg, inv./cat.nr. 12633

10
Johann Falch
Forest still life with a snake, grasshopper and butterflies, c. 1710-1720
panel (oak), oil paint 39 x 30 cm
lower left : otto. M.F.
Cologne, Wallraf-Richartz-Museum, inv./cat.nr. WRM 2923


In conjunction with still-life artists in Southern Germany, we also have to mention a mysterious (Johannes?) Fischer (between 1570/80-1643) from Augsburg, who once copied a painting of Willem Kalf and again imitated paintings of Pieter de Bloot [11-13].4 The same (?) Fischer also copied Albrecht Dürer and Lucas Cranach; all in all he appears not to have been a very original artist.

The animal and still-life painter Franz Friedrich Franck (1627-1687) succeeded in creating a very attractive trompe-l’oeil with books, wherefore he deserves to be mentioned here [14-15].5

11
Willem Kalf
Merchandise on display for a shop, 1642-1643
copper, oil paint 17,5 x 13,5 cm
Munich, Alte Pinakothek, inv./cat.nr. 5727


12
possibly Johannes Fischer after Pieter de Bloot
Christ in the house of Martha and Mary, after 1637
panel, oil paint 43 x 57 cm
Munich, Alte Pinakothek

13
Pieter de Bloot
Christ in the house of Martha and Mary, dated 1637
panel, oil paint 47 x 66 cm
: dated 1637
Vaduz-Vienna, Liechtenstein - The Princely Collections, inv./cat.nr. GE663


14
Franz Friedrich Franck
Still life with books, violin, violin bow and vanity symbols, dated 1663
canvas, oil paint 95 x 125 cm
lower right : FFF 1663
Augsburg, Städtische Kunstsammlungen Augsburg, inv./cat.nr. 6130

15
Franz Friedrich Franck
Still-life with flute, bassoon and trumpet, dated 1663
canvas, oil paint 95 x 125 cm
lower center : FFF 1663
Augsburg, Städtische Kunstsammlungen Augsburg, inv./cat.nr. 6131


Notes

1 [Gerson 1942/1983] A.o. in the museum in Lyon and in auctions.

2 [Van Leeuwen 2017] Carl Wilhelm possibly was a cousin of Franz de Hamilton. Most recent information on Carl Wilhem and Franz de Hamilton by S. Partsch in Saur 1992-, vol. 68 (2010), p. 466 and 482. The RKD prefers the spelling of Carl Wilhelm de Hamilton with a C, not a K, because of his monogram.

3 [Gerson 1942/1983] Paintings at the exhibition Copenhagen 1891, no. 51; auction Vienna 1912-11-12, no. 167; collection Popławski, Warsaw (Warsaw 1939, no. 34); Raudnitz Castle; auction Stockholm 1920-04-26, no. 48. [Van Leeuwen 2017] Of the works Gerson mentions we only could not retrieve the one in exhibition Copenhagen 1891 (no catalogue found) and the one in Raudnitz. Furthermore: paintings in Augsburg and Cologne. The painting in Cologne has a false signature of Otto Marseus van Schrieck and was formerly attributed to Van Schrieck and to Franz de Hamilton.

4 [Gerson 1942/1983] Paintings in Schleissheim, no. 3222-3224. [Van Leeuwen 2017] Although no. 3224 in Schleissheim was listed as by Fischer since 1885, the painting is given back to Willem Kalf in Giltaij/Van den Brink/Meijer 2006-2007, p. 161, no. A4, ill. 3 on p. 38. No. 3222 is a copy after a work by Pieter de Bloot in Vienna, Lichtenstein Museum (illustrated here). No.  3223 is not a copy after Pieter de Bloot, but after a painting by Bartholomeus Breenbergh in the same collection (RKDimages 285368 and 107787).

5 [Gerson 1942/1983] In Augsburg. Peltzer 1934, p. XIV. [Van Leeuwen 2017] Von Knorre/Krämer 1984, p. 76-77, fig. 46 (the pendant).   

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