Franciscus Hamers

Franciscus Hamers' work has only recently been rediscovered. In 1987 a painting with an illegible signature was shown by an art dealer at the Netherlands Institute for Art History. A small number of works with a similar style and subject matter were later grouped together by art historian Marijke de Kinkelder under the provisional notname 'Pseudo-Van Douw'. This name was chosen as these works were close to the output of the Flemish painter Simon Johannes van Douw who painted Italianizing landscapes, cattle markets and hunting scenes in a style, which showed the influence of the Dutch painter Philips Wouwermans. In spring 2002 a painting with a signature similar to that of the painting shown in 1987 was with an art dealer in Paris. This time the signature could be deciphered and it was possible to identify the artist as Franciscus Hamers, who had only been known until that time as a master registered at the guild in the guild year I674/75. Subsequently, more paintings were attributed to him either on stylistic grounds or by identifying his characteristic signature.^[1]

Hamers' artistic activity can best be characterised at that of a 'dozijnschilder' (literally 'dozen painter'), the name given to Antwerp painters in the 1670s who due to the economic downturn caused by the French invasions, created works for the market which imitated, borrowed from and copied other artists. In particular works of notably Dutch painters such as Philips Wouwerman, Pieter van Laer and Nicolaes Pietersz. Berchem were often the inspiration for these artists due to the market demand for battle and hunting scenes at the time. These works were produced in large quantities and distributed internationally to France, Austria, Spain and Portugal through art-dealers such as Guillam Forchondt and Bartholomeus Floquet.^[3]

Hamers' subject matter is mainly Italianate landscapes with hunters.^[1]

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