Swiss Drawings - Masterpieces of Five Centuries (Art Ebook)

<*5
Swiss Drawings 5
Swiss Drawings
MASTERPIECES OF FIVE CENTURIES
Organized by the Pro Helvetia Foundation

Introduction and Notes by Walter Hugelshofer
Circulated by the Smithsonian Institution
1967-1968
Smithsonian Institution Press
Washington^ D. C.
1967
This ivork
is
available in a hardcover edition
The material for
from
the Smithsonian Institution Press.
the exhibition ivas prepared under the direction of the
Smithsonian Institution Traveling Exhibition Service
and circulated
to the following:
National Gallery of Art Washington,
d. c.
The Pierpont Morgan Library new york, new york
M. H. de Young Memorial Museum san francisco, California

The Art Institute of Chicago Chicago, Illinois
SMITHSONIAN PUBLICATION 47 6
1
M^nct^X
DESIGNED BY CRIMILDA PONTES
PRODUCED BY THE MERIDEN GRAVURE COMPANY AND THE ANTHOENSEN PRESS

cover: 43. ambrosius holbein: Portrait of a Young
Man
with a Cap
Acknowledgments
Swiss Drawings-Masterpieces of Five Centuries
be brought to
this
country.
It
marks the
has had the privilege of viewing the full
first
is
the
first
exhibition of
time that the American
its
kind to
museum
visitor
sweep of Swiss draftsmanship from the
six-
teenth to the present century, from Holbein to Giacometti.
The
exhibition has
lenders, both public
become
treasures for a long period.
It is
through the good will of the
a reality chiefly
and private,
who
many
have graciously consented to part with their
their generosity
which has enabled us
to bring such a
superb collection to the United States.
To the Pro
Helvetia Foundation must go our profound thanks.
From
its
inception
the project has been guided and directed with the greatest care and attention
Luc
Boissonnas, Secretary General of the Foundation, and his entire
staff,
by Mr.
especially
Mrs. H. Wiithrich, secretary. Thanks to the generous support of the Foundation,
we were
able to include a
number
of particularly fine
not have been part of the exhibition.
works which otherwise might

skill and patience, Mr.
With consummate
Walter Hugelshofer and the Pro Helvetia Foundation performed the complex undertaking of assembling the drawings in Switzerland and attending to the myriad
details
also to
involved in bringing the collection to this country.
Mr. Hugelshofer for the dual
tasks of
making the
Our sincere thanks are due

selection of the drawings
and writing the introduction and catalog notes. Mr. Hugelshofer's work was made
possible through the generosity of the
too,
must go
to Dr.
A word of thanks,
work on and encouragement of
Pro Helvetia Foundation.
Hanspeter Landolt for
his early
the project.
His Excellency, Felix Schnyder, the Ambassador of Switzerland, has graciously
it is on tour in the United States. We are most

Lukas Burckhardt, Counselor for Cultural Affairs of the Embassy of
agreed to sponsor the exhibition while

grateful to Mr.
Switzerland, for his constant help and encouragement during
all
stages of the nego-
tiations.
Our
gratitude
is
extended to Dr. and Mrs. Edgar Breitenbach for their
skillful
German text of the catalog, and to Mrs. Emily Evershed for her
the text. The coordination of all the many intricate matters of nego-
translation of the
work
in editing
tiation, transport, preparation,
Frances P. Smyth of the
staff
and publication of the catalog were handled by Miss
of the Traveling Exhibition Service, an office of the
United States National Museum, under the direction of Mrs. Dorothy T.
Van
Arsdale.
S.
Dillon Ripley, Secretary
Smithsonian Institution
The Pro Helvetia Foundation

Located
in Zurich, the
Pro Helvetia Foundation for Cultural Relations with For-
eign Countries was originally created in
1939 both to maintain and promote
Switzerland's spiritual and cultural heritage and to foster appreciation of the works
and achievements of Swiss thought and culture
assumed
its
present form in 1949.
It is
in other countries.
a public foundation
The
organization
under the supervision
of the Swiss Federal Council. In addition to sending printed materials abroad,

organizes exhibitions, concerts and lectures in foreign countries.
also receives distinguished foreign visitors
aspect of the
life
who come
to Switzerland to study
of the country. Pro Helvetia's constant endeavor
other countries with the highest expression of Swiss cultural
life.
it
The Foundation
is
some
to present
Lenders
The
Print
Stoll
Hanggi
Basel, OefFentliche
Kunstsammlung,
Room
Basel, Dr.
the Exhibition
Federal Gottfried Keller Foundation
Arlesheim, Professor Arthur

Basel, Dr. Paul
to
Karlsruhe, Staatliche Kunsthalle
La Tour de
Peilz,
Lausanne, Mr.
and Mrs. Franz Meyer
Basel, Dr. Willi
Raeber
Berlin, Staatliche
Museen, Print Room,
Miss Claire Oederlin
Lausanne, Mr. Claude Vallotton
Maxime Vallotton
Lucerne, Kunstmuseum
Montreux, Dr. Gabathuler
Munich, Graphische Sammlung
Stiftung Preussischer Kulturbesitz
Nuremberg, Germanisches Nationalmuseum

Bern, Historisches
Museum
Winterthur, Mr. Willi Diinner
Bern, Mr. E.
Bern,
W.
Kornfeld
Kunstmuseum
Winterthur, Kunstmuseum
Winterthur, Dr. A. Werner
Darmstadt, Hessisches Landesmuseum
Zoflngen, Stadtbibliothek
Diessenhofen, Mr. Carl Roesch
Zurich, Mrs. Nelly Bar
Donaueschingen,
Zurich, Eidgenossische Technische
Fiirstlich-
Fiirstenbergische Collection
Hochschule, Print Collection
Geneva, Musee d'Art
Zurich, Kunsthaus
et d'Histoire
Geneva, Mr. Janos Scholz
Zurich, Schweizerisches
Landesmuseum
\$.
wolfgang topffer, Picnic
beside Lake Levi a
Introduction
It is
interesting to speculate
why
art of a high quality
makes
ance in a particular country. In the case of Switzerland, the great
from
a series of
first
appear-
moment
resulted
its
unexpected and extraordinary events. In 1476-77 the Swiss peas-
army vanquished the Duke of Burgundy, Charles the Bold, after his invasion.
Charles was the richest and most powerful ruler of his time, and his defeat had reant
percussions throughout the whole of Europe. In 1499 the Swiss defeated the Ger-
man Emperor Maximilian I and secured their independence from the Holy Roman
Empire. They next intervened in the struggle between the Hapsburgs and France
for the possession of Lombardy and other parts of Italy, and again were victorious
in several major battles. Waging war came to be regarded as a means of overcoming
the endemic poverty which the Swiss had long accepted as a way of life, and the
victorious soldier, with his display of booty,
became the hero archetype.
Confidence gained through military successes, horizons widened by discovery

of the
New
World, and
two remarkable
artists,
essentially draftsmen,
new
Manuel highly
ferment
all
helped to shape the talent of
and both were fascinated by the mercenaries. Despite
larity in the subject of their
tionwas
religious
Niklaus Manuel in Bern and Urs Graf in Basel. Both were
work, each shows
sensitive, intellectually inquisitive,
in certain respects
marked difference
and given to philosophic
remote from the everyday world.
with their deadly man-to-man combat, in a romantic
light,
He
a simi-
in treatment.
reflec-
viewed the wars,
and concentrated on the
splendid costume in which the mercenary paraded at home.
By
choice he ignored
war and
the tragic and negative side of
from
actually gained pleasure
its
various
may have been influenced by certain chiaroscuro drawWhen, in 1522, he had the option of giving up painting in
manifestations. His style
Hans Baldung.
ings of
exchange for
in
He was
transition.
felt his creative
not
at the
difficulty
by his success, and it may be that he

Manuel drew only occasionally in his
satisfied
powers were diminishing.
and died
later years,
found no
position as provincial governor, he seems to have
making the
age of forty-five.
Manuel's contemporary, the goldsmithUrs Graf of Basel, had an entirely different temperament.
cenaries.
with
An
He
actually participated in and enjoyed the rough
He was
grim sense of humor.
did not hesitate to record
returning
day meet
of the mer-
keenly aware of the negative side of war and
the girl he had left behind, and a
Urs Graf drew these scenes knowing
a similar fate.
life
the faculty of self-criticism and
His drawings emphasize the horror of
it.
home empty-handed,
the gallows.
endowed with
acute observer, he was
full
battle: the soldier
man
dangling from
well that he himself might one
His drawings highly personal documents were never
commissioned, nor, indeed, were they ever meant to be sold, and they were probably fully appreciated only by
and brutal
tlingly savage
fellow mercenaries. Frequently they are star-
his
in style
and subject matter;
proached true genius. Like Manuel, he was active

a
dozen years, and
Hans Leu,
his last
5 10,
work
of
to Diirer's
him
Hans Baldung
his father's
Diirer,
in Strasbourg. In
workshop.
As
He
little
When
of
one of the
Hans Leu
it
a painter,
was
Nuremberg, however, about

influential.
Leu
he became acquainted with the
Leu returned
to Zurich,
where he
made
de-
he was obliged to participate in military
enamoured of these experiences

Diirer
by Pirckheimer and Martin Tucher) he

sent Leu his greetings in a letter.
a poet.
to
more than
work.
painted altarpieces and murals and
a citizen,
campaigns but was evidently so

sketched a single mercenary.
The work
for scarcely
his earlier
whose work was then widely
workshop and through
signs for the glass painters.
mind of
some of them, Graf ap-
contemporary of Manuel and Graf, and the son of
where he studied with
took over
in
artist
drawings lack the brilliance of
active mainly in Zurich. His training brought
was admitted
an
as
came
that he never
to Zurich in 15 19 (accompanied
visited his
former pupil, and
reveals a gentle disposition
and the
in 1523
he
sensitive, imaginative
His strongest and most original work deals with nature. Leu was
first artists
covered mountains.
to portray the beauty of
He
took an active part
windswept
in the
trees
and distant snow-
Reformation and was
killed
while
fighting at the side of the reformer, Ulrich Zwingli.
The
visual arts flourished in Basel at the beginning of the sixteenth century.
As
in
anv period of
count on
demand
current
produced
in
for designs for pictorial
filling a
pages and text illustrations, to be re-
title
Urs Graf, the talented Master D.
also active in Basel.
Diirer visited Basel,
had
could
great. Artists
who were
woodblocks.
In addition to
was
was
intellecrual curiosity, the interest
steady flow of commissions from book publishers,
For
S..
possibly a Netherlandish
artist,
voung
period in the course of his travels, the
a brief
where the brothers Ambrosias and Haas H Ibein the Younger,

Augsburg. Both made many drawings for Basel pub-
also settled after leaving
lishers.
While untimely death cut short Ambrosias' career (about 1519

as an artist, becoming a master of unusual stature, and h:
exerted a far-reaching influence on subsequent
book
illustrations.
artists.
In addition to his
Holbein made manv drawings for window designs,
Elans
developed rapidlv
work
cuted bv glass painters.
Some
speculation.
blank escutcheons mtended for armorial bearings.
his
glass painter
windows was
aesthetic enjovment. there
arms and
while others were c
would adapt such drawings
fully painted
own medium. Mi
to his
also prestige attached to
name
scribed on the lower portion of the
of
window, and the picture
in his life. In the
some contemporary pastime, such
new
The
whom
itself
it
frequently con-
was intended, or
upper part there was usuallv an
to
illustration
hunting or target practice. Holbe;-
as
scheme quite freely and varied
thereby giving a
A coat of
such a donation.
of the donor and the date of the gift was in-
tained an allusion to the occupation of the person for
this traditional
The
skill-
popular Swiss custom of the time. In part d
was
a tablet bearing the
some important event
to be exe-
it
by introducing
spatial elements,
direction to this type of glass painting.
painting of building facades with architecture seen in perspective
was then
fashionable, and the roots of this practice can be traced back to Italy and even to
antiquity.
tries,
It
damp
was. however, unsuited to the
and most of these paintings have
':
een
climate of the northern coun-
through deterioration.
T:
asymmetrical facades of Gothic buildings were transformed almost beyond recognition
by painted
architectural elements such as colonnades and arcades in the
Holbein's Dainting in this
classical style of the Etc
of opulence, in contrast to the narrower and
Hans Holbein
century.
He
the
matured
Younger was
at a
time
bom
when
the
in
new
field
more pedantic work
Augsburg
new
at the
had a quality
of local
end of the
ideas of Renaissance art
artists.
fifteenth
were
filter-
ing through to the countries north of the Alps and replacing the traditional Gothic
forms. In his father's workshop he saw portraits
drawn ) with
new concept
some painted, but the majority
of man's relation to the world. Because he
grew up
new
with these
ideas,
to struggle to absorb
As an
Hans
Younger was never
the
Gothic
artist.
He
did not have
and master the new forms.
objective artist rather than an emotional and expressive one, Holbein
seems to have created with relative
even and relaxed.
his lines are
brush, mostly in gray tones,
He
ease.
His pen stroke
indicates
which
is
strong and assured, and
shadows by applying washes with
his
gives his drawings a softened, painterly char-
acter. His works are emphatically three-dimensional. These techniques and others
were acquired from Hans the Elder, who had probably learned them in the Low
Countries. In their use of washes for modeling, the Holbeins differed from other
Germanic draftsmen, who indicated shadows by crosshatching with
a pen, a tech-
work an expressive, restless element.

Hans Holbein the Younger became a painter
of altarpieces
nique which gave to their
Early in
his career
No
prelimi-
possibly because Holbein never
saw the
for churches in Basel, a most important source of income for
nary sketches for these altarpieces

need of making any. There
which appeared on these
exist,
artists.
however, drawings for the portraits of the donors,
are,
panels.
Holbein sketched
his sitters
from
life,
and he
painted the portraits from these sketches. This he did in order to save his usually
rich and aristocratic sitters the
burden of repeated
gulf between artist and patron
was considerable
was of the highest rank. As Holbein observed these

his career, his portrait painting
The social
when the artist
visits to his studio.
at the time,
even
social differences
taught him to rely heavily on both his
throughout
memory and
his great skill.
By
He
member
1524 Holbein was a
had married
a local
of the painters' guild with citizenship in Basel.
woman by whom
mayor and other high-ranking
he had two sons, had worked for the
by the city
town hall. Despite all this
There were signs, too, of re-
patrons, and had been commissioned
council to paint murals in the council chamber of the
he seems to have become
activity,
ligious turmoil
and
event, the future
social
restless in Basel.
upheaval in Basel which probably affected him. In any
seemed uncertain.
In 1524 Holbein traveled to France, to try for the position of court painter,
that
Leonardo da Vinci was dead. Nothing came of
this, as
the
not yet sufficiently well known. In 1526, through the good
Holbein managed to gain
a foothold in
nition as a portrait painter
means were
bought
limited.
Two
among
offices of
artist
was
Erasmus,
London. There he acquired some recog-
years later he returned to Basel to see his family.
riots
now
the humanists and scholars, but their financial
house and made an attempt to
Reformation, preceded by
young
settle
down
He
again, but the advent of the
and followed by the ban on
art in the churches,
destroyed the basis of
was
his livelihood. It
The
tablished painter.
and frustrating time for an
a difficult
city of Basel tried to hold
him with an
offer of a pension
es-
and
town hall, but Holbein felt that there was far too
He went back to London in 1532, again leaving his
time success came his way. A number of German merchants
of a further commission in the

potential for
little
him
family behind, and this
London,
in
who
in Basel.
had formed a guild, had him paint their
portraits; he also
The two French
rated their guildhall with murals. His reputation grew.
dors to the Court of St. James sat for Holbein, and his double portrait of
From
a masterpiece.
that time commissions
murals for Whitehall Palace,
his
by
volved confidential missions,
England
from 1532
we do
Whether this also inWhen, on one of these occasions,

with great honors. The visit served to con-
not know.
outgrown the narrow world of
From
His
until his death in 1543.
his earlier years.
Xor was it feasible

Thus Holbein
to settle in alien surroundings.
smiths, miniaturists,
by Holbein,
Holbein was commissioned to do
van Eyck before him and Rubens after
nent return to Basel was out of the question.

ily to
is
had
the court to paint portraits.
he visited Basel again, he was received

vince him that he had
painted
them
who
VIII,
fame spread. L'nable to handle the volume of work
himself, he hired assistants. Like Jan
him, Holbein was sent out
his portrait
When
suit.
Even Henry
easily.
brought the Reformation to England, had
just
and the King's favorites followed
by
came
deco-
ambassa-
to
remove
lived alone in
permafam-
his
London
circle there consisted of fellow artists, gold-
and engravers.
1532 on, Holbein's output consisted only of portraits and of designs for
goldsmiths, enamelers, and embroiderers. During this time he produced only one
picture with a religious theme.
his
contacts with other
artists
The
splendor of the English court,
and their work
of the world considerably. His outlook
nounced. In the sketches he made

arts,
one can see that the
His studies
late
deur and dignity of
The advent
made from
life
his
detachment more proand other
and subsequently used for
preserved, with a
unknown
few
They possess
works of
por-
his
a natural gran-
in art. Curiously, these portraits
to be regarded as
were
art in themselves.
exceptions, and today are found in
Windsor
Museum.
of the Reformation, and a resultant hostility toward religious
had profound repercussions on the intellectual

centuries the
and
an impressive body of work.
kind hitherto
Castle and in the Basel
freer
as designs for paintings, engravings,
working drawings and not intended
They have been
and
Gothic world was far behind him.
in colored chalks,
trait paintings, constitute
became
his travels,
affected Holbein's art and his view
all
Church had nurtured
art,
life
and with
it,
of the
art,
Western world. For
the artists themselves.
The
now
commissions of lay patrons,
the chief source of income, could not
compare
much lower status, and

the Germanic countries entered a period of gradual artistic decline. Some artists
adhered to the old religion and moved to find work in Catholic regions, while
favorably with those of the Church. Art was relegated to a
others earned their livelihood as painters of portraits or of heraldic designs. Tobias
Stimmer (1539-1584), the greatest Swiss painter of the generation after Holbein,
decorated facades of houses, made designs for woodcuts and windows, and excelled
He worked
as a portraitist.
manner introduced by Hol-
in the scholarly, classical
His pupil Lindtmeyer (155 2- 1604), despite considerable
bein.
ficult to
make
a living as a designer of
times leading to open warfare, continued to paralyze the creative
of the sixteenth century, significant artistic activity had

in Switzerland.
Although
this
was
it
dif-
social tensions, at
spirit.
By the
close
to a virtual standstill
Netherlands, Spain, Italy, and France
art flourished in the
during the seventeenth century,
come
found
talent,
windows. Religious and
barren period in both Switzerland and
Germany.
In the eighteenth century the Swiss traveling
a
man,
often
after
made
modest training
his
who became
who worked
an important book
illustrator.
Joseph Werner (1637-1710) from Bern,

eled on the
don
John Henry
in great
Inspired
new
by
came
Fuseli.
who
There was
appearance. Such
is
Freudenberger
Boucher and Greuze
Other Swiss
artists
who worked
a leading portrait painter in
who
headed Berlin's
Dresden;
new Academy (modFiissli
(1741-1825),
who became famous
also the painter
in
Lon-
Jean Etienne Liotard (1702-
enjoyed the highest reputation, and whose pastel portraits
demand throughout Europe.

the writings of Rousseau, about the middle of the eighteenth century
preoccupation with nature made
changed, and
Alps,
example
French Academy); the bizarre Johann Heinrich
1789) from Geneva,
were
An
often took his subject matter from literature and

as
his
in Paris at the time of
abroad include: Anton Graff (1736-1813),
who
made
artist
home, went abroad to acquire more experience and
reputation outside of Switzerland.
(1745- 1 801) from Bern,
and
at
new approach became
itself felt.
evident.
The
artist's
attitude
For Caspar Wolff
toward nature
1735-1 783) the
which for centuries had seemed barren and forbidding to the beholder, beoverwhelming in their majesty. Ludwig Aberli (1723-
a source of inspiration,
1786) had an eye for the serene loveliness of the surrounding countryside.
He
de-
was fascinated by medieval ruins in

direct opposition to sophisticated European taste of that time. After Aberli came a
number of minor artists such as Rieter, Biedermann (1763-1830), Konig, and Lory
lighted in the beauty of the Swiss lakes and
whose
venirs
demand
color engravings of landscapes and costumes satisfied the
on the part of foreign
tourists,
many
of
whom
came
to
for sou-
view the newly
dis-
covered scenic attractions of the Alps.
At
in
time art began to flourish in the French-speaking cantons, and especially
this
Geneva, where
artists
were encouraged by Liotard's
painters among them Saint-Ours,
De La
success.
group of these
Rive, Agasse, Massot, and Topffer (1766-
1847) captured the beauty and the poetry of the Swiss countryside and the contented lives of
By
its
inhabitants.
the nineteenth century Switzerland began to develop a cultural identity,
no
easy matter for a country that had originated as a voluntary, loose confederation of
cantons which were largely autonomous and free to maintain their distinct cultural
heritages.
The
cantons belong linguistically to three large groups the Germans,
French, and Italians and became united politically, but their cultural
much
with the
larger neighboring countries with
guage. For this reason there
is
no Swiss
which they share
art in the sense that there
is
a
a
ties
have been
common
Dutch
art,
lan-
for
example.
At
the beginning of the twentieth century,
modern
art
came
to Switzerland
through the influence of Ferdinand Hodler (1853-1918), an independent, powerful,
and
essentially Swiss artist. In Hodler's time there
opments. German-speaking Swiss

erably to
Munich)
to study,
were other
significant devel-
who had hitherto gone to Germany
artists,
(pref-
began to look to Paris for aesthetic leadership. To-
ward
the end of the nineteenth century Felix Yallotton (18 65 -1925), a precocious
artist
from the canton of Vaud, joined the
(1868-193 3), an Italian-speaking
by Van Gogh.
When war broke out
in Paris,
there,
(
artist
in 19 14, there
circle of the Nabis.
was
a general
exodus of Swiss
and their eventual return to Switzerland gave a
with impressive
results.
Among
Giovanni Giacometti
from the Grisons, was strongly influenced
those
who
new
artists
working
impetus to the
artists
returned was Rene Auberjonois
872-1957), a native of Vaud. After a long period of struggling with aesthetic
problems of
his time,
he evolved a highly personal mature
style; his later
work was
subtly poetic.
Alberto Giacometti (1901-1966), the sculptor, and a son of Giovanni Giacometti,
was adept
at
drawing and painting. Early
he returned frequently to
his
home
village of
lent examples of graphic art drawings
in the 1920's he
Stampa.
He
left
moved
with an intense, nervous
pointed, hard pencil.
to Paris, but
hundreds of excelline
made with
Notes on the Amerbach Collection
More than one
Room
Print
third of the drawings assembled here have been contributed
of the Oeffentliche
Kunstsammlung
in Basel,
by the
which has never before
number of drawings. Thirty of these, including nearly all the drawby Urs Graf, Niklaus Manuel Deutsch, Hans Holbein the Younger, and Ambrosius Holbein, come from the Amerbach Collection, whose history is worth
lent such a large
ings
recalling.
The
deaths of Ambrosius Holbein (about 15 19), Urs Graf (1527-28), Manuel
(1530), and Hans Holbein the Younger (1543) occurred at a time of great spiritual upheaval. The Reformation and the social struggles which in many places led
to peasant wars
changed the
intellectual climate of
Europe.
which had been so
characteristic of the northern countries,
was supplanted by
the drawings left
new
Holbein went to England

a
few
on
style based
classical antiquity.
by Urs Graf and Manuel provoked
designs for
Because of
style,
fashion. It
this
change
little interest.
with only the barest
in 1526
portrait sketches as samples of his
The Gothic
went out of
work. Most of
necessities
and perhaps
including his
his effects,
windows and for facade decorations, and his father's estate, he left beLondon he preserved the drawings that he made for portraits and
hind in Basel. In
history paintings.
nearly
all
He
had to give up
of these have been
lost.
his final designs for goldsmiths'
work, hence
All sketches and notations leading up to the fin-
ished drawings, however, remained in Holbein's possession, and after his death the
bulk of
this material
how became
was
sent to his
widow in Basel.
Certain portrait sketches some-
separated from this collection and these are in
Windsor
Castle today.
Holbein's workshop in Basel was taken over by the glass painters Balthasar
and Maximilian Wischack,

designs,
which were
still
who from
time to time used some of Holbein's
Han
window
stored there.
In the latter half of the sixteenth century, as religious and social tensions lessened
and
life
became more
leisurely, princes, nobles,
and
later,
smiths, weapons,
men began
work of gold-
other wealthy
collecting valuable or unusual objects such as paintings, books, the
and samples of wood and rocks. This nostalgia for the past and
the passion for collecting were directly responsible for the preservation of
that
is
Imhoff
valuable in
in
Basilius
tion.
art. Diirer's
much
drawings thus went into the collection of Willibald
Nuremberg, and subsequently
Amerbach (1533-1591), an
to the
Emperor Rudolf
II,
in Prague.
avid collector, had inherited a great tradi-
His grandfather Johannes (1430-15 13),
in the course of a
long residence in
Venice, had collected Italian woodcuts and engravings for use in

business. Basilius' father Bonifacius (1495-1562), a
16
law professor
his
publishing
at the
University
of Basel, not only inherited these objects, but in 1536 he acquired the estate of Eras-
mus
of Rotterdam. This estate included in addition to books and letters a
of paintings, drawings, and various other art objects

as gifts. In his
turn Basilius
Amerbach
inherited this collection and added over
4000 engravings and nearlv 2000 drawings. The

legacies of
number
which Erasmus had received
latter
group contained the
artistic
Urs Graf, Xiklaus Manuel Deutsch, and the three Holbeins, which for
decades had remained intact. Thanks to Basilius Amerbach's zeal as a collector, these
priceless
works of
art
have been preserved for posterity. This collection fortunately
remained in the possession of the family until 1662,
when
it
was put up for
sale in
Amsterdam. The city council of Basel purchased it for the university librarv chiefly
for the books it contained. The collection's drawings and en^ravin^s did not then
arouse
much
interest.
Thus
has a major part of the
work
of the most important
early Swiss artists remained intact in Basel throughout the centuries.
Walter Hugelshofer
Catalog
ANONYMOUS MASTER,
Window
Hem
Design for an Armorial
i*.
"Zunft zu Safran"
in
Pen and ink with wash. 42.8

Bern, Historisches
An
x ?i
Museum. Wyss
1500
for the Merchants' Guild,
cm., \6V% x
12%
known
as the
back
frame
in.
Collection.
accompanied by an
itinerant merchant,
ABOUT
BERN,
assistant
who
carries
on
his
with bundles of merchandise, offers two peasants an assortment of wares which he

carries in a basket.
One
in readiness to pay.
Below,
which two crossed
staffs
of the peasants
surmounted by
cupies the center foreground.

chant's
box and one of the
mocking reference
to
testing a knife; the other has his purse out
is
in the left-hand corner,
At
An
escutcheon, on
monkeys plunder
the mer-
parody of the actions of the men below
vanity; see
H.
W.
Middle Ages and the Renaissance. [Warburg

pl-
chip box.
have been hastily sketched, oc-
the top of the picture,
baskets, in a
human
is
fleurs-de-lis
Janson, Apes and
Ape Lore
Institute Studies 20],
(a
in the
1952, p. 221,
43)-
The drawing was made so that the client could have an idea of how the comwindow would look. In the second decade of the sixteenth century, a division
of labor developed between the draftsman who made the design and the glass
painter who executed it. We have to distinguish between the sketch, such as this
pleted
one intended for the patron, and the working drawing for the guidance of the
glass
painter.
This
the
is
work
active in
by this artist; its lively narrative power reminds us of

Housebook Master. It may be that it was drawn by Lukas Schwartz,
the only drawing
of the
Bern from 1498 to 1526
as a designer of glass paintings.
LUX ZEINER
Lux (Lukas)
one of the
Zeiner, a glass painter active in Zurich
best,
most
original,
and was largely responsible for
own
2.
and
prolific
their popularity.
15 13,
was
He w as
r
craftsman
who made
his
designs.
The E?uperor Charlemagne, Seated on

Regzda, Patron Saints of Zurich
Pen and
between 1480 and
producers of small painted windows,
ink.
34 x 25.3 cm.,
Bibliographical references
may
x 10 in.
be found on page
172.
20
Throne between
St. Felix
and
St.
Karlsruhe, Staatliche Kunsthalle.
The drawing shown

fluence, introduced
showing
ner,
the Print
here was for Zeiner's patron.
hunting motif in which there are
Room
from Fribourg
Fries,
many
in-
drawing by Zei-
elements of Gothic,
is
in
FRIES
Uechtland (circa 1465-circa
in
rary (and a fellow craftsman in Augsburg) of
work he seems
still
x\ circular
of the Eidgenossische Technische Hochschule in Zurich.
HANS
Hans
shows Netherlandish
Its style
through the work of Schongauer.
to have been familiar.
From
then once again in Fribourg, and from
15 18),
Hans Holbein
was
contempo-
whose
worked in Basel,
Bern, where he influenced
the Elder, with
1487 to 1497 Fries
onward
in
the style of Niklaus Manuel.

3.
The Virgin and Child

Pen and
ink,
Landscape
in a
heightened with white, on reddish-brown tinted paper.
25.5 x 19.7 cm., 10

Basel, Oeffentliche
in.
Kunstsammlung, Print Room.
Inv. no. 1959. 103.
here may well have been inspired by similar pictures made on

by Hans Baldung in Strasbourg. Apart from this picture, only
two other drawings by Hans Fries are known, one in Basel and the other in Municha sad reminder of the many works of art which have been lost over the cen-
The drawing shown

color-treated paper
turies,
through changes
in taste
and through accidental destruction.
LUCERNE MASTER,
4.
The Donor, Anna Mangold, Asking
151
Intercession of St.
Anne, Her Patron
Saint
Pen and ink with wash.
26.2
x 20.5 cm., io!4 x
8Y8
in.
Dated
151
1.
Bern, Kunstmuseum.
This
The
is
working drawing, with
artist
is
instructions to the glass painter concerning colors.
identified as a painter of altarpieces in Lucerne.
Anna Mangold was the

a man fond of osten-
second wife of the mayor of Lucerne, Jakob von Hertenstein,

tation,
who
in
employed the twenty-year-old Hans Holbein the Younger to
paint his late Gothic house inside and out in the
In this drawing St.
Anne
is
shown with
new style (Figure 38).

Mary and the Christ
the Virgin
Child.
URS GRAF
Urs Graf, the son of
a
was born about 1485
a goldsmith,
time of increasing prosperity,
when
the general
ing the series of unprecedented victories over the
was
also a time of
smith. In 1503 he
deep
went
In 1509 he settled in Basel.

the Pope's short-lived
his
Like
spiritual unrest.
his father,
to Strasbourg for training,
Two
garb and their daredevil existence.
He
1 1
by
a gold-
Zurich.
in Milan.
From
that time until
the mercenaries, with their fan-
captured their world and the long-
number
Of
of drawings.
these,
half of the total) remain together, in the Print
Basel; the rest are scattered
In
later, to
years later he was persuaded to hire himself out for
vanished world of our forefathers in a great
hundred (more than one
Urs Graf became
and four years
campaign against the French
death (1527 or 1528), Graf was fascinated
tastic
He grew up in
in Solothurn.
mood was one of elation followpowerful Duke of Burgundy it
among many
about a
Room
in
collections.
Graf married, and the following year he became
time he designed illustrations for the flourishing
At this
made working
a citizen of Basel.
new book
trade,
drawings for painted windows and experimented with etching. In 15 15 he again

a trip across the Alps to fight in the war then raging around Milan. Despite
made
repeated brushes with the law, Graf received a commission from the city council of
Basel to cut the dies for
some new
silver coins.
When
Graf was imprisoned as
punishment for breaking the law which forbade enlistment
in foreign wars,
and for
other misdemeanors his comrades secured his release so that he might compete in
the Schutzenfest.
Graf's drawings constitute the most significant part of his oeuvre and account for
his survival as
an
artist
and for
his
appeal today to a world so very different from his
own. These drawings (mostly done
in
pen and ink on white paper)
differ greatly,
both style and content. Often they seem hastily and carelessly executed, with
in
little
graphic charm; and they
tent.
At
may
be undisciplined in form and insensitive in con-
other times, however, they are uncompromising and direct, giving us a
profound and often frightening insight into contemporary warfare and
its
effects
on
morals and manners, the intellectual and spiritual state of the Confederacy, and the
moral degeneracy of
involvement
we
in
a great
many
people, especially the
young who, through
warfare had become wild and undisciplined. Given
can understand
how
the Swiss, under Zwingli's leadership,
this
early
background,
were ready for the
Reformation.
Some
which
of Graf's drawings seem to be pictorial accounts of the
the artist appears to patronize those
are like private confessions, in
which the
who
artist
wars accounts
in
did not take part. Other drawings
grimly mocks
at his
own
weaknesses
and openly
airs his sins.
Urs Graf shows
At
times he recalls Francois Villon. In his best drawings,
high degree of
artistic integrity
Although most of Graf's drawings bear
tation.
were purely the products of
for sale but
in their time.
And knowing
themes and why,
ligious
5.
The Standard Bearer

Pen and
this,
we
when he
his
his
and an unusually daring presen-
monogram, they were not made
need to create. In
understand
why Graf
did, his pictures are
they stand alone
this
seldom dealt with
re-
not convincing.
Unterizalden
of
ink. 29.5 x 18.8 cm.,
1 1
7%
in.
Signed and dated 152
1.
Zurich, Eidgenossische Technische Hochschule, Print Collection. Depositum Gottfried Keller Foundation.
The
standard was the ultimate symbol of martial strength and was credited with
magical powers.
the death in
6.
Inv. no. 121.
its
It
was always entrusted
to the bravest
man, and
soldiers
fought to
defense.
Lakeside Village
Penandink.
21.5 x 15.5 cm., 8V2
d%
in.
Signed and dated
15 14.
The
signatures and
date are disproportionately large and prominent.

Basel, OefTentliche
Kunstsammlung, Print Room. Amerbach Collection.
Inv. no.
U.X.62.
Urs Graf's virtuosity and
his sheer delight in
drawing are apparent
which was composed freelv from memorv and not taken from
ing to note that the rare landscapes of both Graf and Niklaus
northern in character, although both
7.
The
artists
in this landscape,
nature.
Manuel
had spent time
in
19 x 18.5 cm.,
jYz
It is interest-
are definitely
Lombardv.
flagellation of Christ
Pen and ink over
very
fine pencil sketch.
x 7V4
in.
Signed and
dated 1520.
Basel, OefTentliche
U.
Inv. no.
10. 98.
This drawing was made on the eve of the Reformation,
at a
time
when most
of
Eu-
rope was undergoing a general examination of conscience. Urs Graf, the hardened
soldier, has
transformed the deeply moving religious theme of the flagellation of
Christ into a brutal beating

repels in part,
it
by rough
attracts at the
der to fully appreciate Graf's
mercenaries.
WTule
the grim subject matter
same time through the genius of
art,
we must realize
23
its
concept. In or-
that an apparently cursory
draw-
ing such as this was in fact
much more
Young Girl
8.
Pen and
in
23.8 x 20 cm.,
ink.
first.
9%
7%
in.
Signed and dated
by
On
15 18.
Inv. no.
1.
1 1
We know of no model for this carefully executed

line.
and was worked out
a preliminary sketch
Elaborate Dress
Basel, Oeffentliche
1927.
made from
carefully than might appear at
the girl's curiously shaped hat,
below the
coronet a symbol often encountered
sketch, with
ear,
is
work.
in Graf's
intimate relationship between the artist and the person
great
its
winged
It
who
charm of
M surmounted
might indicate an
perhaps inspired the
picture.
9.
Strolling Couple, Seen fro?n Behind
Pen and
18 x 15.2 cm.,
ink.
Basel, Oeffentliche
7^x6 in.
Signed and dated
15 14.
Inv. no.
U.X.57.
In this drawing the artist has captured his subject in a
which
a genre picture
The
hints at caricature.
Such
few powerful
artistic license
is
lines,
unique for
creating
this time.
M surmounted by a coronet, in the lower right-hand corner, may have been an
allusion to the
woman. Though incomprehensible
may
have had
Signed. In the lower left-hand corner
is
to us today,
it
special significance in Graf's circles.
10.
Lovers beside a Lake

Pen and
ink.
14.5
10.5 cm.,
5%
x 4!^
in.
an unintelligible sign, presumably incomplete.

Basel, Oeffentliche
U.
About
10.
this
religious
time
many
artists,
among them
Diirer and Altdorfer, began to replace
themes with worldly ones. Urs Graf's sketch of two lovers, though remark-
ably free (and even casual in appearance), captures the

ist
Inv. no.
13.
has had the
monogram
good
to a size
taste to
which
moment
perfectly.
The
art-
carry his drawing no further. Also, he has kept his
fits
in well
with the composition.
24
1 1
Council of
Pen and
War
ink. 29 x 2
Basel, Oeffentliche
The
cm.,
1 1
'/2
in.
Signed and dated
5.
Inv. no. 53a.
highly independent Swiss troops sometimes changed sides in the course of a
Even
battle.
cide
.4
in the thick of the fighting, the
whom it was most
mercenaries might
call a
appear on the battlefield in such fantastically befeathered headgear.

ever, that this bolstered their
their costume, too,
council to de-
men
profitable to fight. It seems incredible to us that

It
morale and helped intimidate the enemy.
was worn more for
could
seems,
The
how-
rest of
effect than for comfort.
NIKLAUS MANUEL DEUTSCH

Niklaus .Manuel Deutsch (1484- 15 30) came from a family of apothecaries and
herbalists. His father, Emmanuel Alleman whose name reveals his Germanic ori-
ginhad moved from

and
citizen
Chieri, in Piedmont, to Bern. There, in 1460, he
member
later a
became
of the city council, which assured his acceptance
by
the
name from Alleman to Deutsch

name
himself proudly as Niklaus Manuel
leading families of Bern. His son Niklaus changed his
when he
in 1509
married, and took a shortened form of his father's Christian
surname. In
as his
his signature
he identifies
Deutsch of Bern.
The
earliest
works of Manuel go back
always signed, but seldom dated.

ant
new
fashions.
These
tall
ideal attire for
around
15 10.
His drawings were nearly

dressed in the flamboy-
youths wear close-fitting garments; on their heads are
berets with long, sweeping plumes.
was the
to
They show young soldiers

One
can hardly believe that
murderous man-to-man combat
in a
this fantastic
narrow alpine
garb
pass.
The
young soldier was the hero of the Swiss from about 1470 to 1530 a time during
which one stirring victory followed upon another. Indeed, Manuel appended a short
dagger to
his
monogram
years before he ever used one in battle.
We have no details of his work up to

ied. It
o,
nor do
could have been with Hans Fries, from
the technique of using colored paper. In any case,
from
his
own
richer and
great talent.
more
varied.
He
Between
15 12
we know with whom
Manuel might have learned

much of his success stemmed
and 1522 Manuel's output grew ever
painted saints for altarpieces. His secular
cluded decorative panels painted with the
classical subjects so
approximately 90 of which are in the Print
Room
work
in-
popular during the
Renaissance (Pyramus and Thisbe, the Judgment of Paris, etc.).

ings,
he stud-
whom
Some
140 draw-
of the Oeffentliche Kunst-
sammlung in Basel, give us a comprehensive view of the contemporary world of

There are noticeably few religious subjects but a great many didactic ones,
such as the Wise and Foolish Virgins (which Manuel had also used for a woodcut),
the old man and the young wife, and the memento mori of the Dance of Death. These
ideas.
are largely studies of individuals rather than
most varied techniques. They reveal

feeling for
spirit.
He
man
group scenes, and are executed
in the
of tremendous vitality, with a strong
harmony and beauty an imaginative
artist
of markedly independent
maintains his objectivity throughout, and his artistic expression
is
always
controlled.
Despite his great output (a large proportion of which survived the Reformation
and
its
attendant iconoclasm)
and despite the fact that he
sat in the city council of
Bern, Manuel did not earn enough to support himself and his family adequately. In
1516 and again in 1522 he secretly served
campaign
in Italy.
with booty.
as a scribe to
the pro-French party in the
Later he freely admitted that he had hoped to enrich himself
Though
his action
brought him into disgrace with
government, he asked for and was granted an

Erlach, a high administrative post.
At
this
official
point Manuel gave up painting, declared
himself a partisan of the Reformation, and took to writing on
on diplomatic
art.
He
missions,
and only
lived to see the altars
his superiors in the
position the governorship of
its
behalf.
He
served
in his last years did he occasionally return to his
which he had painted ripped out of the churches and
destroyed.
The Virgin Mary,
12.
Pen and
ink,
Seated, with the Infant Jesns
heightened with white, on brown tinted paper.
23.5 x 18.3 cm., 9!4 x 7V4 in.
This
striking, carefully
executed master drawing, which shows the Virgin
seated out-of-doors, with the Christ child resting His head
Manuel's few drawings having
Nude Woman
Pen and
ink,
with
Two
a religious
on Her knee,
is
Mary
one of
theme.
Children
heightened with white. 30.2 x
19.5 cm.,
11% x
in.
Signed.
In subject matter and in treatment this sketch reflects the world of the Renaissance
and shows the
artist to
be an independent talent in touch with
his times
and will-
ing to break with the past. This fine master drawing to some extent recalls
Baldung.
26
Hans
i4-
Death Comes for the Canon

Pen and ink with wash, heightened with white, on brown
-
cm.. 9 x
in.
22.8 x 18.9
tinted paper.
Signed.
Darmstadt. Hessisches Landesmuseum.
Sometime between
Dance
the famous
15 15
and 1517 .Manuel painted
48-panel Dance of Death, with
on the wall of the Dominican monastery in Bern. Like
life-size figures,
its
prototype,
work indicates, with uncomproranks and spares none a grim memento mori for
of Death in Basel, this skillful
mising force, that Death takes
all
manv
woman
an age in which almost ceaseless warfare and the ensuing pestilence took so
in the
prime of
blowing on
mural but
keep.
is
The drawing
Darmstadt, which shows Death
in
as
an old
shawm, leading a canon away, is not a preliminary sketch for tne

drawing which for some particular reason Manuel wished to
a later
The mural
good idea of
15.
life.
deteriorated within a
character and
its
Young Woman, Drawn
its
few decades, but
in Profile
Black and colored chalks with watercolor.
23. 8
x 19.3 cm..
Kunstsammluno'. Print Room.
Basel. OerTentliche
the drawing gives us a very
merit.
9%
Amerbach
-%
in.
Inv. no.
Collection.
U.X.10.
Manuel provides an
In this drawing
term
16.
Allegory on Man's Mortality
10
as
x6
ink.
5
is
self-
during .Manuel's
heightened with white, on vellow-brown tinted paper. 26.4 x
16.- cm..
Signed.
in.
Basel. OerTentliche
U. X.
voung woman who
Governor of Erlach.
last
Pen and
ideal profile of a
The studv mav have been made
contained and proud in bearing.
Kunstsammlune. Print Room. Amerbach Collection.
Inv. no.
6.
A nude woman,
fantastically
a curious globular stool,
and
adorned with ribbons, chains, and plumes,

in this
conveyance she
floats
holds the skull of a mercenary in her left hand; in her right
mounted by
mountains
a sundial.
in the
On
seated on
is
an hourglass sur-
her knee she supports an incense burner. There are
background and
the allegory eludes us. and this
The woman may
is
over a river valley. She
fortifications beside the river.
mav
The meaning
have been the case with the
in part represent a sorceress (basically
27
of
artist as well.
an erotic symbol); or she
may
be Vanitas, an allegory on the transitory nature of man's existence. Diirer's
engraving of Nemesis and Baldung's pictures of witches
work. The border shows that the picture was intended

such
Bathsheba (Figure
as the
sammlung
have influenced
this
complete composition,
or the Lucretia, also in the OefTentliche Kunst-
in Basel.
and
17. Soldier
Pen and
ink,
Young Woma?i
drawn over
Basel, OefTentliche
U.X.
may
as a
very
fine sketch. 28.5 x 19.2 cm.,
% xj /2
l
in.
Signed.
Inv. no.
17.
This sketch of a fashionable couple was made
when
the Swiss wars were at then-
height. Despite the extreme elegance of his attire the rich decoration of his gar-
ments and the excessively long sweeping plume

impression of manly seriousness and energy.
charm.
with
top,
the loot
8.
late
its
Gothic element
is
in his
beret the youth gives the
The young woman
radiates feminine
evoked by the use of the decorative
scroll at the
enigmatic characters reminiscent of the devices on objects contained in
which had recently come
to the Swiss via
Burgundy.
The Foolish Old Man

Pen and
8
/8
ink,
heightened with white, on reddish-brown tinted paper. 20.3 x 18.8 cm.,
in.
Basel, OefTentliche
Inv. no.
U. XVI. 42.
The drawing shows an old man whose money has got him a young wife. Behind
them a young man and woman seem destined to remain apart, no doubt because of
the young man's lack of a similar fortune. The decorative scroll above bears the letters NKAW, interpreted as: Nie?nand kann alles ivissen (No one can know everything) At a somewhat later date Lucas Cranach painted similar moralizing pictures,
.
which foreshadow the approaching Reformation.

19. St.
Christopher
Pen and
ink.
20.3
Basel, OefTentliche
U.
15.3 cm., 8
x 6
in.
Inv. no.
10. 21.
This interpretation of
St.
Christopher carrying the Christ Child across a river
of the most beautiful drawings of the early Germanic school.

28
is
one
Rocky
2 0.
Pen and
"Peninsula
28.2
ink.
x 20.5 cm.,
U.S.
1 1
x8'/8
V%
Signed.
in.
Basel, Oeffentliche
Inv. no.
19.
In this picture the artist has taken the
component
parts
from nature but has com-
bined them so as to produce a fantasy. Diirer and Patenir indulged in similar flights
The drawing shown
of fancy.
Young Soldier
Pen and
ink,
in a
here
is
one of Manuel's rare landscapes.
Landscape
drawn over
very
27.3 x 19.2 cm.,
fine sketch.
10% x jY2
in.
He
a beret
Circa 1512.
Private collection. Originally in the Carl Feer collection.
The drawing shows

is held in place by a
young Swiss
attached to the beret. His richly

leg
is
torn
as five
off.
In his right
his waist, lies
athwart
memento
from which
worked garments
left a
his back.
mori:
feather,
hand the youth holds
yards long), and in his
serves as a
soldier in battle dress.
A large
chin strap.
On
fit
him
wears
is
tightly; his right trouser
lance (which could be as
parrying weapon.
which
a little bell dangles,
much
short dagger, fastened to
a tree stump, facing the soldier, a small sundial
Tempus pi git.
HANS LEU
Hans Leu was born about 1490 in Zurich, the son of
worked in the tradition of Schongauer. After receiving
well-known painter who
his early training at
home,
work with Diirer in Nuremberg. There he met Hans Baldung, to

whom he was drawn as a person and as a fellow artist. Around 5 3 Leu returned
Leu went
to
Here he painted altarpieces and

murals for churches, made designs for woodcuts and executed a number of drawings, either for his own pleasure or as designs for windows. In the summer of 15 19
Diirer visited him in Zurich. In 5 3 Leu was killed in the religious wars, in which
to Zurich,
where he took over
his father's studio.
he supported the reformer Zwingli.
Leu broke with

markable
involved with the

feeling
is
life
under Baldung's influence, produced works of
Unlike other Swiss
He was
artists
of his time,
re-
Leu was not deeply
of the mercenaries; in fact, he never portrayed a soldier. His
tender and poetic, and his approach
and most original

land.
tradition and,
artistic quality.
when
is
gentle.
Hans Leu
is
at his happiest
depicting the charm of the mountain landscape of his home-
one of the
earliest artists to
29
respond to the romantic aspects of the
Many
mountains.
sometimes
two
the
artists.
they arrived
whom Leu
of his drawings were once ascribed to Altdorfer,
recalls. In fact, there
was probably never any
Both were active
at the
same time,
direct contact
between
in similar circumstances,
and
at similar results.
Landscape
22.
Pen and
ink.
8%
21.8 x 15.8 cm.,
x 6
in.
3.
Zurich, Kunsthaus.
This view from a mountainside, looking

earliest
down on
landscape drawings without figures, and
a castle
by
testifies to a
a lake,
one of the
is
changing approach to
nature.
23. St. Sebastian
Pen and
ink.
8%
21.2 x 15.2 cm.,
x 6
Nuremberg, Germanisches National-Museum. Hz.
The
figure of the saint
from
Diirer's studio
is
monogram and
Signed with
in.
33.
dated 15 17.
K. 562.
based on an early woodcut of Hans Baldung, which was
and was formerly attributed to Diirer (Bartsch,
vol. vii, p. 180,
no. 22). Leu's interpretation transforms Baldung's dramatic and passionate concept
of the theme into one of lyric sentiment.
The
landscape,
tribution, shifts the emphasis of the composition.
which
is
Leu's
own
con-
A mood of serenity pervades the
picture.
24.
The Virgin
Pen and
ink.
Sitting
happy
last
monogram and
dated 15 17.
Inv. no.
38.
relationship
pictures of the
between
Madonna
Reformation broke out

25. St. Ursula in a
Pen and
Signed with
20.2 x 15.3 cm., 8 x 6 in.
Basel, Oeffentliche
U. XVI.
under a Tree, with the Christ Child
ink.
The upper
14.1
figure
and landscape
to have
been made
in Switzerland,
is
seen here. This
in Zurich.
and religious
art
is
one of the
A few years later the
became unpopular.
Landscape
x
1.2
cm.,
left-hand corner
5%
is
4%
in.
missing.
30
Signed with
monogram and
dated 15 16.
This figure of the saint looks almost
as if it
MASTER
So far
his
monogram HF. The
Amerbach Collection makes

tivity.
OF
F.
has not been possible to identify with
it
drawings with the
hood of
H.
might be
it
17
any certainty the
fact that
many
artists
killed in the frequent
to the ensuing epidemics.
art
but transitory
have been
Some
artists,
flash of genius.
lost to us in the
to guide our research.
signed himself
Basel and
who
HF
Some
artist
who
some of the drawings

had only
signed
are in the
driven to seek
We must
a brief period of ac-
and bloody wars; or they
more
not forget, too, that
course of the centuries, so that
we
of the very scanty data that
we
victim
many works
have few clues
have for the
might be attributed to the painter Hans Franck,
fought in the Battle of Novara in 15 15
fell
profitable fields else-
A painter might show a bril-
where, might stay for only a short while in one place.

liant
wood.
appear probable that he was active in the neighbor-
Basel. In those uncertain times
Often they were
a statue carved in
(as did
artist
who
of
left
who
lived in
Niklaus Manuel) and
died before 1522. These data are not, however, sufficient for identification.
26.
Marching Soldier
ivith a
Black chalk. 31 x 22 cm., 12
Sword on His Shoulder

14
8%
Signed with the
in.
monogram
HF
and dated
1517.
Basel, Oeffentliche
Inv. no.
U. IX. 420.
For
all its
mastery of execution and
its
apparent seriousness,
this
drawing seems to
be a caricature of the outlandish dress of the mercenaries: the feather of the soldier's beret
is
excessively long; his
sword
covered with slashes and trimmings.
27.
is
The
of gigantic proportions; his clothing
soldier's
pose
is
is
ridiculously exaggerated.
Fortune
Black chalk. 31 x 22 cm.,
Basel, Oeffentliche
U. VIII.
12 14
x8 5/8
in.
Room. Amerbach Collection. Inv. no.

Kunstsammlung, Print
Pr
108.
A young woman
is
balanced on a globe, holding a goblet
as a prize in
one hand and
On the scroll above her is the motto, "Gliick hilf!" [Help me,
Apparently the ironic subject matter was taken from the world of the
mercenaries, who without having Fortune on their side could not expect to return
a
rudder
Fortune!
in the other.
]
home unscathed and
new
laden with booty. In this
era the soldier, in his
moment
of desperation, no longer sought protection of the Virgin or of his patron saint he
wooed
ing
is
instead the vague spirit of Fortune.
not signed, but
it
The
hastily sketched incomplete
was obviously done by the
carrying the sword and signed
it
HF
a portrait painter
who
influence of Holbein and Manuel,
Young Man, Drawn
28.
signed himself
was
who drew
draw-
the soldier
(figure 26).
HANS FUNK, BERN,

About 1524
artist
ca.
HF
1524
and whose work showed the
active in Bern.
in Profile
Black and red chalk.
26.3 x 17.7 cm., 10% x 7 in. Signed at the left with a partly
which might originallv have been HF. Above this is a cropped inscripwhich dates from the early nineteenth century: "Hans Funck von Bern, Glas-
cropped
tion
F,
maler."
Munich, Graphische Sammlung.
Master H. F.
case,
we
may
Inv. no. 71.
have been the author of
this
drawing. Should
this
prove to be the
should disregard the nineteenth-century attribution which appears here in
the upper left-hand corner.
29.
Design for an Armorial
Window
Pen and ink with wash, heightened with

with the monogram
HFG
for Jacob
Mey
color. 56.5 x 59.5 cm., 22
(Han Funk Glasmaler). Dated
x 23
/2
l
in.
Signed
1532.
Zurich, Kunsthaus. Z. Inv. no. 1938. 38.
This drawing, with

self-assurance
its
flamboyant decorative elements, suggests
tant battles. Stylistically, this sketch

see here
is
who had
owes much
on the part of the Swiss,
recently
to
won
a rather
32
of impor-
What we
who commis-
Holbein and Manuel.
not the working drawing but the sketch for Jacob Mey,
sioned the window.
bumptious
number
HANS HOLBEIN THE YOUNGER

Hans Holbein the Younger was born
his birth has
in Augsburg about 1497 (the exact date of

not been established), at a time of growing prosperity for that city.
Through
trade connections with Italy,
its
Augsburg had become
a leading
port of
entry for the ideas of the Renaissance. Powerful merchants invested large sums in
new
new
The
business ventures.
political
and
Diet of the
Holy Roman Empire (always a source of

Augsburg as a meeting place. An at-
intellectual ideas) favored
mosphere of splendor and ostentation characterized the
city.
Hans the Elder, a successful and highly respected painter, had

established a workshop in which altarpieces were made. In this period of affluence
the workshop flourished, and its products were shipped as far as Frankfurt. At
that time such a workshop was primarily a family enterprise, in which as many
members as could do so took part. Hans the Elder's brother Sigmund and his uncle
Hans Alaier worked for him, as did his sons Ambrosius and Hans, even when they
Holbein's father,
were
still
bo vs.
By
15 15,
however,
are not certain and the various
had failed for what reasons
this enterprise
members of
we
the family left Augsburg. After an
unsuccessful attempt to establish themselves in Constance, the family finally settled
By now
in Basel.
the
their father acted
two voung sons had become
more
the heads of the workshop, while
in the capacity of assistant.
The Holbein
family never quite
recovered from the blow which had driven them from Augsburg.
over the
life
and work of the precocious son Hans; and
plained his reserve toward his fellow
which characterizes
Once
reer. In
new
his
It cast a
in 15 17,
man and the severe, remote,
almost odd quality
Hans
the
when
Younger embarked on an extremely
active ca-
barely twenty years old, he decorated the mayor's
house, inside and out, with murals. For this project he adopted the
of the Renaissance,
shadow
probably partially ex-
work.
settled in Basel,
Lucerne
it
which he employed with
accustomed to the angular Gothic style were
instinctive ease
now
dazzled
by
new
style
and confidence. Eves

a rich architecture in
the classical tradition an architecture of columns, rounded arches and coffered

ceilings. In these large
and roomy
halls
Holbein's painted figures appeared to
move
with an easy grace.
From
15 19 to
1526 Holbein lived in Basel, where he painted portraits of the
which it was their custom to donate

Here he also illustrated books and made designs for woodcuts; in these
areas his work was much sought after by the printers, who were always eager to
find new talent. Holbein's work also included numerous designs for windows. In
leading citizens and decorated the altarpieces
to churches.
time he developed an extremely personal style, which was greatly admired and im33
itated. Set beside
Holbein's work, that of an
subjective, undisciplined
artist
such
as
Urs Graf seems highly
and expressive.
In 1520 Holbein married and
council chamber of the Basel
became a citizen of Basel. Later he decorated the

town hall with appropriate murals. Holbein joined no
military expeditions to Italy, remained aloof

gles
from the
political
which accompanied the Reformation, but he did form
learned and sophisticated Erasmus of Rotterdam.
It
and religious strugwith the
a friendship
was through Erasmus
that
Hol-
new field of employment in London. He went there in 1526 without

The move was dictated by necessity, as the Reformation had sharply
bein found a
his family.
curtailed his earning
power
was soon appreciated by the

circles.
in Switzerland. In
scholars,
and
London he was
well received.
In 1528 Holbein was back in Basel, and in the following spring he witnessed
the iconoclastic upheavals
which
resulted in the destruction of his altarpieces in the
churches. During this period he painted the portrait of his wife and
ture that
in the
At
is
without
town
parallel in the
northern art of
its
whom
sons, a pic-
however, Basel had not enough to offer a painter of Holbein's

he returned to London, again leaving
his
family in Basel, which
must have been unsatisfactory for both. In London Holbein did

portraits of
two
He completed his murals
time.
and executed other mural commissions.
hall
this time,
stature. In 1532
to
He
popularity quickly spread to court
his
a series of brilliant
merchants and of members of the royal family, including Henry VIII,
he became court painter.
He
also
made many
designs for goldsmiths and
armorers. In 1538 Holbein was reunited with his family in Basel, but his stay was
He
brief.
returned to
London and
to his position as court painter.
He
died there in
1543, a victim of the plague.
Holbein was
many.
latecomer to the great
When Holbein's
achievements.
The
artistic
career had just begun,
flowering of Diirer's time in Ger-
Durer was already an
painful struggles of transition
from the
late
artist
of major
Gothic to the Ren-
and the process of assimilating the new forms of expression developed in

through the rediscovery of antiquity, were something Holbein never had to
aissance,
Italy
reckon with.
optimism and
the very beginning he easily mastered the new style, with its
humanism. The strong tendency toward expressiveness that was
From
its
so characteristic of the south
German
artists
was
alien to
Holbein. Even in
his in-
novations he remained within his self-imposed bounds. His imagination enabled him
to conjure up, seemingly without effort, a
with equal
ease.
The even
wide range of forms, which he employed

become thin and
strokes of his pen neither thicken nor
never break off abruptly. Like
his father,
many
adopted and whose example he followed
34
of
whose workshop techniques he

Holbein used modes of
as a portraitist,
which
expression
differed sharply
from those of other German draftsmen. While
shadows by means of crosshatching with the pen, Holbein achieved

by applying a delicate wash with his brush a technique which may have
others indicated
this effect
originated with the Netherlandish

a
background or setting for
artists.
his figures.
Landscapes appear
He
in his
work merely
never painted a landscape for
its
as
own
sake.
Holbein rarely signed
works of
mon
but
art
as
his
drawings.
He
thought of most of them not
They
preliminary stages for various projects.
all
as finished
have in com-
an extraordinary purity of composition and a flawless pen technique.
draftsman of phenomenal achievement, Holbein has an enigmatic fascination that
completely
30.
his
the Infant Jesus
Pen and ink with wash, heightened with white, on blue-grav tinted paper.
y8 x
is
own.
The Virgin Seated between Two Columns, Suckling
cm., 8
.2
14.8
in.
Kunstsammlung, Print Room. Amerbach Collection. Inv. no.
Basel, Oeffentliche
1662. 130.
This drawing dates from about 1520.
The Prodigal Son
as a
Swineherd
30.6 x 20.9 cm., 12
x8K
in.
Basel, Oeffentliche
Inv. no.
1662. 157.
This design for an armorial
The escutcheon
in the
32. St. Elizabeth of
8,
probably in Lucerne.
left blank.
Thuringia Feeding a Sick Beggar

Basel, Oeffentliche
window was made about
lower part of the drawing has been
37.3
x 30.7 cm., 14% x 12%
in.
Inv. no.
1662. 147.
In this design for a
beggar.
On
window St.
Elizabeth of Thuringia
helmets, hold blank escutcheons

is
is
shown giving food
to a sick
Two
wearing
her right a knight in armor makes his obeisance.
a large slab,
which has
also
on which armorial bearings can be
been
left
putti,
inscribed.
Below
blank for an inscription. This drawing dates
from about 1523.
35
Mercenaries in
Combat
Brush and wash, over

Basel, Oeffentliche
preliminary pen sketch. 28.5 x 44.1 cm.,
\\
17
in.
Inv. no.
1662. 140.
anv of the Swiss wars (although
Holbein never took part
in
was obligated
and he had no direct knowledge of combat. At
to
do
so),
as a citizen of Basel
this
he
time
the subject of warfare occupied men's thoughts everywhere, and the drawing
shown
here,
which was done
someone who wanted

has apparently been
34.
trimmed
may
England,
in
know what
to
off
on
have been made at the request of
hand-to-hand fighting was
The drawing
like.
either side.
The Bat
Brush and wash with watercolor lightly applied.
Basel, Oeffentliche
16.6 x 22.9 cm.,
6Y2
x 9
in.
Inv. no.
1662. 162.
Holbein apparently made
mentas Diirer did with

35. Portrait of Sir
this
drawing (circa 1525) for

Walrus.
his
own
interest
and enjoy-
his illustration of a
Nicholas Careiv
Black and colored chalks. 55 x 38.6 cm.,

Basel, Oeffentliche
21%
x 15 %
in.
Inv. no.
1662. 34
Carew was
a favorite of
Henry
VIII.
He
became Master of the King's Horse and
He
served in several diplomatic and military missions to France.

favor,
and was beheaded
session of the
Duke
36. Portrait of
in 1539.
The painting made from
this
of Buccleuch (see Ganz, Holbein, 1950,
later fell into dis-
drawing
number
is
in the pos-
3).
Lady Mary Guildford
Black and colored chalks. 55.2 x 38.8 cm.,

Basel, Oeffentliche
21% x
15
in.
Dated
1527.
Inv. no.
1662.35.
This drawing was made in one
sitting,
through
pane of
glass.
Holbein subsequently
painted the model's portrait from the drawing, without any further sittings and
with the aid of the model's clothes (see K. T. Parker, Holbein Drawings in Windsor Castle,
London
1947).
The
painting
is
36
now
in the
Museum
of Fine Arts in St.
Louis, Missouri (see Ganz, Holbein,
London
ion piece to the drawing, a portrait of Sir
Exchequer
to
Henry
VIII,
is
in
Windsor
1950,
numbers
Henry
Castle, as
78, 80).
The compan-
Guildford, Chancellor of the

is
the painting
made from
it.
Design for a Table Centerpiece
37.
Pen and
ink.
40 x 17.4 cm.,
Basel, Oeffentliche
15% x 6%
in.
Inv. no.
1662. 165. 99.
In London, as in Basel, Holbein was closely associated with the goldsmiths, among
them Hans von Antwerpen and Hans von Zurich. Among his many designs for
them is this particularly fine working drawing for a table centerpiece.
Leaina before the Judges
38.

Basel, Oeffentliche
18 x 13.7 cm., j
/s x 5%
in.
Inv. no.
1662. 159.
In the foreground Leaina, standing before her judges in a lofty and spacious
hall,
The theme was
sug-
tongue rather than betray her lover, Aristogeiton.
bites off her
gested to Holbein in 15 17,
when he was
living in Lucerne,
by
humanist perhaps
Johannes Zimmerman, whose portrait Holbein had painted. As an example of the

ultimate expression of loyalty, the picture embodies the spirit of the Renaissance.
The
treatment of the composition
from northern
Italy,
such
as those
may have been influenced by mural paintings

by Romanino. The drawing was a sketch for the
decoration of Jakob von Hertenstein's house in Lucerne.
39.
Design for the Decoration

Basel, Oeffentliche
of the
Fagade
of the
"Haus znm Tanz"
Basel
53.4 x 36.8 cm., 21 x 14V2 in.
Inv. no.
1662. 151.
The Gothic "Haus zum Tanz" in Basel, belonged to the goldsmith Angelrot, for
Holbein sometimes made working drawings. The ingenious design, with its
whom
classical architectural
to
a
make
the
element and bold use of
narrow facade appear broader and
illusionist perspective,
Renaissance palace. Holbein's studies are our only record of
house
is
no longer standing.
37
was intended
to give the house the appearance of

this project, as the
40. Christ before Pilate
("Ecce
Pen and ink with wash. 43 x

Basel, Oeffentliche
Homo")
16% x
30.6 cm.,
12 in.
1662. 167.
This
is
one of an unfinished
interpretation
is
drawing's powerful effect.
window
series of
Holbein's own.
It is
The
designs of the Passion of Christ.
The
dignified restraint of expression adds to the
probable that Holbein prepared a number of such
drawings to have on hand for potential patrons.
The example shown
here was
made
about 1525.
41.
Two
Centaurs

lower left-hand corner
Basel, Oeffentliche
10.3
is
x 18.2 cm.,
4%
1
7 /4 in.
Trimmed on all four sides. The
missing.
1662. 165. 53.
In this goldsmith's drawing, done about 1540 in London, Holbein has created a
beautiful
work which foreshadows
42. Design for a
the art of the seventeenth century.
Goblet with a Lid
Pen and ink with wash and watercolor.

Basel, Oeffentliche
dation.
29.1
x 21.5 cm.,
/2 x8'/2
in.
Kunstsammlung, Print Room. Depositum Gottfried Keller Foun-
Inv. no. 629.
This detailed drawing was made for the patron, to give him a clear idea of
finished object
would
look.
comparison of the design on
the doublet in Holbein's portrait of
Lugano (1948
catalogue,
number
Henry VIII
in the
this
Rohoncz
The
the
Castle Collection,
may
have
shading on the lower right w as added
later.
16), leads us to believe that the goblet
been commissioned by the monarch.
how
goblet with that on
AMBROSIUS HOLBEIN
Ambrosius Holbein (circa 1494 circa
bein the Younger.
He
15 19)
was the
trained as a painter in his father's
Hans HolAugsburg workshop where,
elder brother of
was allowed to work side-by-side with the journeymen. In

went to Constance whether to join a studio or to work independently, we
do not know. By 5 1 5 he was in Basel. In 5 7 one Ambrosius Holbein, a painter
despite his youth, he

15 14 he
38
from Augsburg, paid
He became
zum Himmel."
to join the painters' guild, called the "Zunft
a citizen of Basel in 15 18.
Ambrosius designed book
and ornaments for such enterprising
illustrations
Gegenbach. These designs are
printer-publishers as Froben, Petri, Cratander, and
delightfully imaginative, but, unfortunately, the blocks are not well cut. Like his
made
brother, Ambrosius
some
portraits
his career,
and small
designs for goldsmiths and armorers.

altarpieces,
which had begun so
which
auspiciously,
He
also painted
reveal the extent of his talent. In
came
to an abrupt end.
he died in that year. His surviving works are proof that he had already
beyond the
late
aissance artist.
and
Gothic traditions of
The work
of this
his brother,
Though
young
an
as
artist
Young
Man
he in some ways resembled
own
the artist). 20.15 x
Basel, OefFentliche
far
Ren-
common
his father
and
in his brief lifetime.
with a Cap
Silverpoint and red chalk on paper with a white ground, with
by
painter seems to radiate a spirit of youth
he had developed a definite style of his
43. Portrait of a
moved
workshop, and had become
and amiable character. Playful putti are
reflect his cheerful nature
motif in his work.
his father's
We assume that
cm 7%
x 6
-'
in.
wash added (probablv
Signed and dated 15 17.
Inv. no.
1662. 207a.
The
ist
sitter
was presumably one of Ambrosius' young friends perhaps
from the
painters' guild, to
The drawing
ship.
44. Portrait of a
Silverpoint.
is
fellow art-
Ambrosius had applied for member-
and not
study for a painting.
with a Cap
/2 x
6 lA
in.
skillfully
executed drawing possesses
member of the Holbein
beins
17,
Inv. no.
10.
This handsome,
by
Man
x 15.7 cm.,
Basel, OefFentliche
1927.
a finished portrait
Young
19.1
which, in 15
family.
It is
was the author. While some have thought
younger Hans, the general feeling
is
all
the hallmarks of a
work
not easy to decide which of the three Holit
might possibly be the work of the
that the style
39
is
closer to that of Ambrosius.
JOST
Jost
Amman,
AMMAN
the son of a scholar and teacher,
was born
Through
ceived his early training from glass painters.
in
He
re-
Nuremberg had
be-
Zurich in 1539.
Diirer,
the center of German art. Its artistic climate and economic situation were in
many ways parallel to those of Zurich. It is not surprising, therefore, that Amman,
when he came to Nuremberg in the course of his travels, chose to settle there, and
come
as the successor to Virgil Solis soon became the leading craftsman in his field. He
worked mainly as a designer of woodcuts. These designs were in great demand,
particularly among the publishers in Frankfurt. While the work of his contempo-
rary, Tobias Stimmer,
45.
is
fresh and natural, that of
Amman is labored and scholarly.
Bacchus
Pen and
ink.
12x16
Basel, Oeffentliche
4%
cm.,
x6
in.
Signed and dated 1585.
Inv. no. 19 10. 22.
TOBIAS STIMMER
Tobias Stimmer was born in Schaffhausen in 1539.
The spirit of optimism

memory when Stimmer's
of the
heroic early days of the confederation was only a
career
uncompromising outlook, had
estab-
began.
The Reformation, with
lished itself in the larger
need of paintings, the

illustration,
towns of the country. Because the new
artist
Germanic
for inspiration.
a time
austere and
was limited
religion
had no
to secular subjects, such as portraits,
book
and designs for various kinds of decorative work. The vigor and inten-
sity of early
At
its
What
when most
Stimmer emerges
art
had vanished, and Northern
attracted
Swiss
them most
artists
as a vital figure
in Italian art
seemed
lost
artists
and without
and an extrovert. The
clearly in his portraits. In Schaffhausen
now
looked to Italy
was the decorative

latter
is
revealed most
Stimmer decorated the facade of
with frescoes in the style of Holbein and the painters of northern
made window
designs for glass painters. In 1570 he
moved
detail.
a sense of direction,
Italy.
a house
He
also
to Strasbourg, then a
flourishing city. There he was engaged chiefly in book illustration, but he also did
some decorative paintings for the cathedral clock. From 1576 to 1579 he worked on
murals for the great hall in the new castle of the Margrave of Baden-Baden, which
is no longer standing. Stimmer died in Strasbourg in 1584.
40
Deer Hunt on Horseback
46.
Pen and
ink.
21.9X
17 cm.,
8%
6%
Signed.
in.
Zofingen, Stadtbibliothek.
In 1575 in Strasbourg
boar, deer, and
Stimmer drew
hare for
hunting scenes hunts for bear,
a series of
have been used for woodcuts illustrating a book on the hunt.

completed,
with
as
Stimmer moved
illustrations
to Baden-Baden, but
by Stimmer's
Daniel Lindtmeyer.
Today
They were to
The book was not
the publisher Bernhard Jobin.
his friend
was published posthumously,
students and fellow
Christoph Murer and

work can be found in
artists,
Stimmer's drawings for
this
Munich, Bern, Zofingen, and Zurich.

47. Squirrel
Brush with watercolor. 22 x
14.5 cm.,
8^x5%
in.
Signature added at a later date.
Zurich, Kunsthaus. Z. Inv. no. 1939/42.
Stimmer's straightforward rendition of nature strikes a refreshing note
pared with the Mannerist productions of
his
when com-
contemporaries.
48. Self-Fortran
Pen and ink with watercolor. 20 x

von Schaffhaussen."
15.2 cm.,
7%
x 6
in.
Inscribed: "Tobias Stimer
Donaueschingen, Fiirstlich-Fiirstenbergische Collection.
may
Bendel's suggestion that this unusual portrait
accepted.
ture,
49.
but
The
it
inscription
is
ambiguous:
could be merely the
it is
be a self-portrait
probably both
title
is
now
and
generally
artist's
signa-
latter.
Courtroom Scene
Pen and
ink.
42.1 x 31.4 cm., \6
x 12%
in.
Zurich, Schweizerisches Landesmuseum. Inv. no.
In this design for a
window only
LM
25646.
the main features appear,
for the benefit of the glass painter.
The
drawn with
great clarity
scene in the upper part of the picture rep-
resents a boar hunt.
4>
The Three Graces: Aglaia, Euphrosyne, and Thalia
50.
Brush, heightened with white, on gray ground paper.
18.5
x 16.6 cm., j
x 6
54
in-
Signed. Below, in the center, the inscription "Grade."

Berlin, Staatliche Aluseen, Print
Room.
2105.
Greek mythology, the Graces, daughters of Zeus, were the
In
personifications of
beauty, charm, and grace.
DANIEL LINDTMEYER
Daniel Lindtmeyer was born in Schaffhausen in 1552.
gifted artist, he
worked
at
came
one time,
unusual beauty of
in Strasbourg.
line,
to develop his talents
settled life
which
came
A highly skilled
precocious and highly
draftsman whose
Lindtmeyer experienced to the
and make
signs for the decorative arts

glass painters,
early under the influence of Tobias Stimmer, for
full the bitterness of
a living as a painter in a Protestant country.
show
he
trying
His de-
great imagination, particularly his drawings for
found
in time
whom
work had an
wide market. His rather turbulent and un-
to an end in 1604.
David and Bathsheba

Pen and ink, heightened with white, on brown ground paper.
11% in. Signed and dated 1578.
Basel, Oeffentliche
38.9 x 29 cm.,
15% x
Inv. no. 1956. 92.
The drawing shows David w atching Bathsheba as she bathes. Although this picture reminds us in many ways of the work of the German late Gothic artists, we
r
see,
the
on closer examination, that the
German
Renaissance.
Our
lavish
composition
earlier impression,
the influence of the age of Diirer
still
is
in the opulent style of
however, shows to what an extent
lingered on as late as the second half of the
sixteenth century.
52
Children Dancing in a
Row
Pen and ink with wash. 18 x 29.5 cm., j /8 x nYs in. Inscribed "Da. L. M.
[Daniel Lindtmeyer von Schaffhausen]. Dated 1597.
l
v. S."
Inv. no. 338.
3.
4-
53
Scenes of Feasant Life
12x8^
30.5 x 20.5 cm.,
Signed.
in.
These
Inv. no. 338. 4.
five scenes are designs for the
They show
for the glass painter's use.

earlier
upper portions of windows and
two
the
w ere
r
intended
chief occupations of the Swiss in
times plowing and cheesemaking.
HANS HEINRICH WAGMANN

Hans Heinrich Wagmann (Wegmann) was born
Zurich in 1557.
in
Zurich and worked there for a time. After experiencing the
He
difficulties of
trained in
making
he moved, in 1582, to Lucerne, which was
living as a painter in a Protestant state,
There he found ample employment as a painter of frescoes and

few sketches are the only remaining examples of his work.
a Catholic city.
altarpieces.
54. Girl
Reading
Pen and
ink.
18.4 x 11.3 cm., 7*4
Basel, Oeffentliche
This study of a
girl
x 4V2
in.
reading
is
Inv. no. 1963. 157.
an unusual and particularly charming example of
Wagmann's work.
WERNER
JOSEPH
Joseph Werner, the son of a painter, was born in Bern in 1637.
under Merian
in Frankfurt; later, in 1654,
painter of miniatures. In this fashionable
ous historical scenes and allegories.
Bern and remained there
ated
Academy
in Berlin.
until 1695,
He
retired
trained
first
medium he
painted portraits and numer-
He worked in Paris for Louis XIV, and in Augs-
burg, Munich, and Innsbruck for the reigning princes. In 1682

to
He
he went to Rome, where he became a
when
from
Werner
returned
he became director of the newly cre-
this post in
1707 and died in 17
10.
In his
Werner seems to
have been influenced in his choice of theme by the fantasies of Salvator Rosa. The
macabre world of witchcraft and magic of the Middle Ages, so dear to Hans Baldrawings, which are completely different from his miniatures,
dung, reappears here in a more romantic guise.
43
His Studio, before an Easel
55- Self -Fortran in
Brush with wash, heightened with white. 25.5 x 19.9 cm., 10 x

right-hand corner is the inscription: "Werner" (possibly added
Bern, Kunstmuseum. Inv. no.
7%
in.
In the lower
later).
A 7219.
Arviida
56.
Brush with wash. 35 x

inscription: "Armida."
22.3 cm.,
3% x8 /4
3
Werner
Signed: "J.
in.
inv."
Below
is
the
A 8421.
In Torquato Tasso's novel Jerusalem Delivered, Armida, the daughter of
King
Arbilan of Damascus, uses her beauty and her magic powers to lure the knight
Rinaldo into her enchanted garden. She detains him there with sensual pleasures, to
keep him from carrying out
The Witch
57.
of
his
mission to free Jerusalem from the infidel.
Endor Summoning
the
Brush and wash, heightened with white.

The
subject
is
taken from Samuel
Ghost
of
Samuel
35.2 x 32 cm.,
13% x 12%
chapter 28.
I,
The Witch
of
Dated
1677.
Endor summons
ghost of the prophet Samuel on behalf of the apprehensive Saul,

in time of
in.
1196.
who
the
seeks advice
w ar.
T
JOHANNES DUNZ
Johannes Diinz, the son of
painter, he
moved
to Bern,
also a painter of landscapes
58.
View
of the
a painter,
was born
in
where he could more

and
still lifes.
He
Brugg
in 1645.
good
easily earn his livelihood.
portrait
He
was
died in 1736.
Berner Oberland from the Hills near Bremgarten
Pen and ink with watercolor.
28.5 x 60 cm.,
11% x 23%
in.
(on the back).
This landscape show s the river Aar

r
Bern.
At
the far right
middle distance
With
its
is
is
as
it
winds past the
castle of
Bremgarten, near
the squat tower of the cathedral; across the expanse of the
the Oberland, the group of the Eiger,
objective treatment of nature, reminiscent of the
Monch, and Jungfrau.
Dutch
anticipates the delicate landscapes of the Swiss painters of a
44
artists, this
hundred years
work
later.
JOHANN RUDOLF SCHELLENBERG

Johann Rudolf Schellenberg (born
prolific draftsman, the
sects.
He worked
in Basel in 1740)
was taught by
younger Schellenberg was well known
mainly
his father.
an illustrator for publishers. Schellenberg died in
as
as a painter of in-
Win-
terthur in 1806.
59.
The Schollenen Gorge, on
the
Road
to the St.
Gotthard Pass
Red chalk. 18.6 x 23 cm., jY2 x 9 in. Signed and inscribed: "Eine der forchterlichen
Ansichten in der Nachbarschaft der Teufelsbriicke" ("one of the most awe-inspiring views in the vicinity of the Devil's Bridge").
Zurich, Kunsthaus.
In 1769 Schellenberg and his father
went on
a trip to the St.
how
drawing, which dates from that journey, shows
Gotthard
Pass.
This
terrifying the high mountains
seemed to the people of that day.
JEAN ETIENNE LIOTARD

The -talented young man
Jean Etienne Liotard was born in Geneva in 1702.
under good teachers

himself.
Working
in
Geneva and
in Paris
in the fashionable
and
it
medium
painter one of those traveling virtuosos
was not long before he
studied
set
up for
of pastels, he became a portrait
who were
admired and feted throughout
Europe. In 1736 he was in Rome; from there Lord Posonby took him to Constantinople. Liotard spent five
adventurous years working in the virtually
unknown
empire of the Sublime Porte, diligently traveling around and drawing. In 1743 he
went
her
to Vienna,
many
1748, to Paris,
was
where he painted the
portraits of the
children. Further travels took
him
where the royal family and the
at the height of his
Empress Maria Theresa and
to Venice, Darmstadt,
nobility sat for him.
fame and was well known
in
Europe.
He
England and Holland, and he was again commissioned to do

of a royal family. Eventually he took
less
worker, he continued
in 1789, just as the
of the society
his
journeys to other
in
cities,
its
ability to
his particular
then Liotard
spent some time in
portraits of
members
Geneva, but, always
especially to Vienna.
Revolution broke out in France, bringing with
which had nurtured
great appeal lay in
up residence
Lyons, and in
By
it
a tire-
He
died
the downfall
talent a talent for an art
whose
encompass both suave refinement and integrity of
vision.
45
Archduke Peter Leopold, Son
60. Portrait of
Empress Maria Theresa
of the
of
Haps burg
Red and black chalk with watercolor,
32.5 x 26.5 cm., 12% x 10V2 in. 1762.
Geneva, Musee d'Art
This
is
one of
and
twelve portraits of the children of Empress Maria Theresa.
a series of
in
on the back.
Depositum Gottfried Keller Foundation.
et d'Histoire.
Archduke Peter Leopold

his father
tinted with watercolor
(1
Duke
747-1 792) became the Grand
1790 succeeded
drawings are designed to form
his
Tuscany
after
brother Joseph as the Austrian Emperor.
The
complete picture
when
of
framed.
The
technique
used here of painting the verso with watercolor which shows through in places
is
unusual.
Archduchess Maria Karolina, Daughter
61. Portrait of the
of the
Empress
Maria Theresa of Hapsburg
Red and
black chalk with watercolor, tinted with watercolor on the back.
32 x 26.5 cm.,
12% x
ioYz
Geneva, Musee d'Art
Maria Karolina, born
in.
et d'Histoire.
in 1752,
was married
at the
age of fifteen to King Ferdinand
of Naples and died in Vienna in 18 14. During her reign she was an opponent of
Napoleon.
62. Portrait of
Lord Mount Stuart
Black chalk, heightened with white, on blue paper. 61 X47.5 cm., 24 x 18%
On the right is the
inscription
Geneva, Musee d'Art
The
"Lord Mount
et d'Histoire.
finished pastel of this sketch
is
Stuart,"
by
in.
1774.
Liotard.
Inv. no. 1934. 27.
in the possession of the
Marquis of Bute, Scot-
land.
63. Portrait of the Artist as an
Old Man
Charcoal, heightened with white and red chalk. 49 x 35.8 cm.,
Geneva, Musee d'Art
This drawing
is
et d'Histoire.
19^ x 14%
in.
1775.
Inv. no. i960. 32.
a study for a pastel portrait in the
Geneva.
46
Musee d'Art
et d'Histoire,
64. Portrait of a
Man
Black chalk, heightened with white and red chalk, on blue paper. 56 x 44 cm., 22 x
in.
1754
Geneva, iMusee d'Art
et d'Histoire. Gift of the Societe des
Amis du Musee.
Inv. no.
1935-5-
The
sketch was taken from
model. (Holbein often used
conveys the force and
A Woman
6$.
to be completed later in the studio, without the
life
this
method
for his paintings.) This drawing admirably
vitality of Liotard's draftsmanship.
Chios
in the Streets of
21x13 cm
"Femme Turque dans
Red, black, and white chalk.

scribed
by
the artist
-'
81/4 x 5 l/s
Dated July, 1738, and
in-
les rues."
Celigny, private collection.
Liotard
made
this
drawing while on
a trip
through the Greek Islands accompanied
by Mr. Posonby.
JEAN HUBER
Jean Huber, whose family came originally from the Tyrol, was born in 1721, into
the aristocracy of Geneva.
and gentleman,
the
King of
and
settled
show him
through
first in
chose a military career and led the
Sardinia. In 1752 he returned to
down
as a
to have
man
been
his association
honest and
He
of an officer
life
the service of the Landgrave of Hesse and later in that of
Geneva, where he held public
office
of birth and substance. Huber's drawings and paintings
a talented
and witty
dilettante.
with Voltaire during the
He
is
latter's stay in
best
know n
of this great philosopher and writer.
realistic portrait studies
to us
Fernev, and for
Huber
his
died
in 1786.
Three Portraits of ]ean Jacques Rousseau, Vieived from Different Angles
66.
Chalk. Each 20.6 x 7.6 cm.,
8%
3 in.
The
philosopher Jean Jacques Rousseau (17 12-1778),
spent most of his adult

either in
life
abroad.
Geneva or elsewhere,
at
who was born
in
Geneva,
Huber and Rousseau must have met, however,

which time
done.
47
these three portraits
may
have been
ANTON GRAFF
Anton Graff was born
in
Winterthur
trained as a portrait painter in
and died
in 1736
Winterthur and
in
in
Dresden
Augsburg. In
in
17 66
18 13.
He
he became
court painter in Dresden; he also worked in Leipzig and Berlin. In Goethe's time
On
Graff was the most popular portrait painter in Germany.

turned for short
visits
to Winterthur,
sions. Graff's portraiture
is
where he undertook
esteemed for the
for the rapport he seems to have with his
artist's skill in
rare occasions he re-
number
of commis-
delineating character and
sitters.
67. Self -Portrait

Chalk, heightened with white, on grav paper. 35 x 27.5 cm., 13
x 10%
in.
Lucerne, Kunstmuseum.
68. Portrait of a
Man
Chalk, heightened with white, on
brown
paper. 40.8 x 27 cm., 16 x
10%
in.
SIGMUND FREUDENBERGER
Sigmund Freudenberger was born in Bern in 1745 arid died there in 1801. He was
a pupil of Handmann. From 1765 until 1773 he earned his living as a book illustrator
in Paris, working for, and sometimes collaborating with, Boucher, Greuze, Roslin,
and Aved.
in the
The
He
designed the illustrated book History of French Manners and Dress
Eighteenth Century;
this
project was later taken over
by Moreau
the Younger.
highly sophisticated and artistically stimulating atmosphere of Paris perma-
nently influenced Freudenberger's style and approach. After his return to Bern he
applied
69.
what he had learned
to subject matter taken
from peasant
Harp flayer
Red
chalk.
23 x 17.7 cm.,
9x7m.
Zurich, Schweizerisches Landesmuseum. Inv. no. 35864.

70. Portrait of a
Young
Man
Pen with watercolor. 24 x
18.3 cm., 9 1/?
X7K2
48
in.
life.
LUDWIG ABERLI
Ludwig Aberli was one
in Switzerland.
At
1 74 1 on.
and
He
a time
of the pioneers of eighteenth-century landscape painting
was born
when
in
Winterthur
modest way, was
Paris, Aberli, in his
in 1723
a sophisticated art style
was
initiating a
and was active

in
vogue
new
in
Bern from
in Venice, Naples,
interest in nature, while
discovering the beauties of his native landscape. Truly a poet in paint, Aberli
out into the country and

composition.
He
were
View
his pupils.
of
his
satisfy the
demands of
visiting foreigners.
x 53.2 cm., 9 /s x 21
!
23.3
in.
Aberli took this drawing from nature and finished
72.
who
of these
Erlach on the Lake of Biel
Bern, Kunstmuseum.
it
Many
Aberli died in Bern in 1786.
Pencil with watercolor.
of using
went
surroundings joyously and with a fine sense of
gave impetus to the art of the minor painters of Switzerland,
were only too happy to

artists
drew
it
in his studio,
Inv. no. 558.4.
with the intention
for a colored engraving.
Bremgarten Castle on the Aar near Bern

35.6 x 22 cm.,
14x8%
in.
Signed.
CASPAR WOLFF
Caspar Wolff was born in Muri, in the canton of Aargau, in 1735. After studying in
Constance he became
Paris.
He
landscape painter and
returned to his
own
tray the beauty of the high alpine scenery.
was an
individualist
a masterly
73.
worked
in
Augsburg, Munich, and
country, where he was one of the
He
first artists
died in Heidelberg in 1783.
with a deep feeling for nature, which
his paintings
to por-
Wolff
convey
in
way.
The Monastery
of
Engelberg and Mount
Titlis
Brush with wash, heightened with white, on blue paper. 36.9 x 53.6 cm., 14V2 X2i'/8
in. Signed and dated 1773. On the right an artist drawing, watched by a shepherd;
on the left an inscription.
Bern, Kunstmuseum.
Inv. no. 570.10.
This picture was executed specifically for the commercial market.

49
74-
Mountain Range
Pencil with wash.
23 x 33.3 cm., 9 x
13%
in.
The human
figures in the
drawing appear incredibly small and
insignificant against
the background of enormous mountains.
75.
Landscape with an Overhanging Boulder

Pencil with wash.
13.5 x 22 cm., 5!^
8%
in.
JOHANN HEINRICH
Johann Heinrich
Fiissli
FUSSLI
(born in Zurich in 1741) was the son of
a painter
and
art
whose household was a particularly cultivated one. As a young man

Johann Heinrich was ordained at the instigation of his family but his career
as a clergyman was brief. Shortly thereafter he traveled to London where he met
Reynolds, who was instrumental in Fussli's decision to take up painting. Between
1770 and 1778, Fiissli studied in Rome and came under the influence of Winckelmann and antiquity. Returning to London in 1779, Fiissli embarked on a successful
historian
name to John Henry Fuseli. In 1790 he became a

was made professor of painting at the Academy.
painting career and anglicized his
Royal Academician and
in 1799
His work gained such wide admiration that he was famous by the time of
in
London
death
his
in 1825.
Fussli's art
was extravagant and grandiose and
his
output
prolific.
His themes
were taken from famous written works the Nibelungenlied, Dante, Shakespeare,
Milton he showed
a predilection for the awe-inspiring, the gigantic
terin short, the extreme. His approach was strongly literary, and
a close
through
study of the art of Michelangelo.

his lectures
and writings.
76. Fortran of a Girl

Pencil. 52.5 x 31.5 cm.,
20% x 12%
in.
50
Fiissli also
and the
his style
sinis-
shows
exerted a strong influence
77.
Dante and
Vergil at the
Pen and ink with

date:
"Rome
Entrance to the Underworld
pencil and wash.
49.5 x 64 cm., 19 V4 x 25
Y8
in.
Inscription and
1772."
This drawing was inspired by Dante's Divine Comedy.
78.
Mamillius with a Lady -in-Waiting

Pen and ink with watercolor. Diameter 49 cm., 19%
in.
This drawing
79.
Lady
is
based on a scene in Shakespeare's
Winter's Tale. Act
II,
Scene
of Fashion
Pencil and watercolor. 31.5 x 23.5 cm.,
13% xg /2
l
in.
Dated
1790.

Fiissli's
unusual imagination can be seen in
which were well
in
advance of fashion.
his inventive designs for
feminine
attire,
We do not know to what extent fashion took
notice of his flights of fancy.
JOHANN JAKOB BIEDERMANN

Johann Jakob Biedermann was born
in 1830.
While
still
quite
Winterthur
in
young he came
1763 and died in Zurich
in
to Bern, where,
Aberli, he developed into an excellent landscape painter.
under the influence of
He
was employed
as
landscape painter on the estates of the Bernese aristocracy, particularly that of the
Vaud, which was then part of the canton of Bern. The French Revolution, with
the resultant collapse of the aristocracy, had
of Bern, and Biedermann
was forced
to seek
its effect also on the rising bourgeoisie

employment elsewhere. From 18 14 to
1827 he lived in Constance. Biedermann, a keen observer and recorder of nature,
was one of the

80.
earliest
masters of Swiss landscape painting.
Gentleman' s Carriage before
Park Gate
Brush and pen and ink with watercolor.

9.5
10.7 cm.,
% X4/4
in.
Zurich, Eidgenossische Technische Hochschule, Print Collection. Inv. no. 672s.
5*
View from
8i.
the Great Terrace of the Chateau of Carrouge
Museum.
Bern, Historisches
The
castle of
Carrouge
is
52.8 x 80 cm., 2o
/4
x 31
';
in.
Inv. no. 1257.
near
Moudon, above Lausanne.
WOLFGANG ADAM TOPFFER

Wolfgang Adam Topffer
where
Paris,
De La
his studies
Rive, he
766-1 84-) was born in Geneva.
was an excellent landscape
painter,
He
had
humor. In
its
trained in
A follower of
whose work revealed
deep
long unproductive period. Topffer was a hard worker and a

ture.
He was
By 800 he had become one of the leading artists of the Geneva

and had much to do with the emergence of that city as an art center after a
feeling for nature.
school
(1
were interrupted bv the French Revolution.
a lively
works, whether drawings, watercolors, or
his
tireless
student of na-
imagination, a genial disposition and a delightful sense of

oil
paintings,
Geneva and
countrvside and inhabitants appear in their most pleasing aspect. Topffer's rep-
utation spread
bevond
the borders of his
own
countrv; he was highlv regarded
in
England and France.

82.
Seated Girl with
Anns
Crossed
Pencil with white chalk, heightened with white, on blue paper, with intended colors
indicated.
28.5 x 20.5 cm.. 11'- x
9%
in.
Zurich, Kunsthaus. Z. Inv. no. 1938 420.
83.
Seated Girl in Profile

Pencil.
24.1 x 19.1 cm.,
9% x-
in.
Zurich. Kunsthaus. Z. Inv. no. 1938, '807.
84.
Seated Girl, Side
View
Pencil with watercolor, heightened with white, on

20.2 x 22.- cm., 8 x 9" s in.
brown
paper.
Zurich, Kunsthaus. Z. Inv. no. 19^8 421.
85. Picnic beside
Lake Lemon
Pencil with watercolor (unfinished).
53.5 x 42.5 cm., 2i
16%
in.
Geneva, Musee d'Art
et d'Histoire.
Inv.
no. 927b.
LUDWIG VOGEL
Ludwig Vogel was born
emy, from 1808 to
Zurich in 1788. While a student
in
was
8 10, he
the Nazarene group. In 18 10
time
the Lukasbriider)
as
valdsen.
He
Vienna Acad-
Vogel went
to
Rome
with
group (known
this
at that
and came into contact with Cornelius, Koch, and Thor-
home
returned
at the
associated with Pforr and Overbeck, the leaders of
during the Napoleonic wars. Vogel's main in-
in 18 13,
history. He made many drawings for

worked out compositions, and traveled around the countryside in
inspiration. His work is characterized by a distinctive style and a fondness
themes. Vogel died in Zurich in 1879.
terest lay in painting episodes
from Swiss
these carefully
search of
for lofty
86.
Valeria Castle, near Sion

23.6 x 42.7 cm., 9V4 x
Pencil with watercolor.
16%
Zurich, Schweizerisches Landesmuseum. Inv. no.
in.
LM
27383.
ARNOLD BOCKLIN
Arnold Bocklin was born
in Basel in 1827
and died
in
Florence in 1901. In the
Rome, he developed
in some quarters and
course of prolonged studies in Diisseldorf, Paris, and

individual style,
which was received
enthusiastically
highly
rejected
vigorously in others. His landscapes appear to stem from a great depth of feeling,
and the
figures
artist
seems to have delighted in what he saw. His scenes are peopled with
drawn from
he had studied on his
Weimar, Munich,
lin
was
first
of
own
Basel,
all a
background Pan and the nymphs, the hunt of
his classical
Diana, and bacchanals. In this he

in
as artless
Antwerp,
and Zurich but
painter,
scheme. Nevertheless,
was
his
Paris,
and natural
and Munich.
his spiritual
home was
and drawing played only
drawings reveal great
Rubens, whose work
as
He
skill,
spent
much
time in
classical Italy.
Bock-
a limited role in his creative
a fine sensitivity,
and consid-
erable vitality.
87.
Faun
Charcoal, heightened with white.
Basel, Oeffentliche
The drawing
is
17.8 x 29.9 cm., 7 x
1 1
in.
study for the painting Faim Whistling to

53
Inv. no. 193

a.
Blackbird.
Hermit
88.
Pen and
29.7 x 25.5 cm.,
ink.
x 10
in.
Basel, Oeffentliche
This drawing
Hermit of
related to the painting
is
Inv. no. 1923. 75.
1863, in the Schack Galerie,
Munich.
The Hunt
89.
Pen and
ink.
of
Diana
it
force creative
The drawing
liche
x 16 !4
was commonly believed

as
is
in.
Basel, Oeffentliche
In antiquity
9%
24.5 x 41.2 cm.,
Inv. no. 1901. 12.
that the hunt of Diana
was an elemental
well as destructive.
related to the painting
Kunstsammlung,
The Hunt of Diana of 1862
in the Oeffent-
Basel.
ALBERT ANKER
Albert Anker (1831-1910) was born in
veterinarv surgeon.
Paris,
As
Ins, in the
voung man, Anker
where he studied with Gleyre and
canton of Bern, the son of
studied theology, but later
at the
cole des Beaux-Arts.
went
He
to
also
Anker spent winters in Paris, returning

each summer to work at his father's home in Ins. Anker was a man of natural distinction and a cultivated artist whose painting developed in the Paris tradition.
studied and traveled in Italy. Until 1890
Possessed of an exquisite sense of color, he delighted in painting scenes of peasant

life in
the Bernese countryside.
90. Portrait of a
Pencil.
Boy, Eugen Oser
22 x 17.7 cm.,
8^x7
Siiiall
Child in a
Watercolor over
in.
Inscribed and dated: "19. Juni 1878."
Stoll.
High Chair
a pencil sketch.
20.1
54
15.5 cm.,
7% x6/8
in.
92. Feasant
Pencil.
Boy
28 x 20.7 cm., 11 x
8^
Signed.
in.
FRANK BUCHSER
Frank Buchser
ist
and
man
(1
828-1 890) came from Feldbrunnen near Solothurn.
made up
time he became
of robust temperament, he
by independent study abroad. In

lay in a strong feeling for color
rocco, and England he
went
popular painter. His strength
and bold, free brushwork. After

United States
to the
A born art-
for his lack of formal education
in 1866.
visiting Spain,
The
recent Civil
Mo-
War
had focused the world's attention on America, and Buchser conceived the romantic
notion that he,
as a representative of
Switzerland the oldest democracy should go
and salute the youngest democracy and honor it with an enormous painting (which,
however, never materialized).
ductions, and General
planned
The
Washington with
official intro-
a large studio at his disposal.
Buchser had
arrived in
artist
Banks placed
composition containing numerous portraits of the leading political and
military figures, but

dividual portraits,
that he achieved
all
made
son; Secretary of State
as studies.
The
was
still
{The Song
who
of
Mary
Blaine),
made
have never been identified. There
opened up to any great extent. His
first
many
ginia.
Chicago and up to Niagara
to
Falls.
by boat
across
went
in the
ing and painting assiduously, and keeping a diary.

left
Vir-
number
in the
to
summer of 1868
Sauk
in
Vir-
to Cleve-
Sainte Marie, and
United States
until 1871,
on
draw-
The oil studies and pencil sketches
however, are in the Solothurn Museum.
55
back via
was painting
behind in America he gave to the Basel Museum. Most of
paintings,
life in
into the desert, then
Lake Superior
Houghton, Michigan. Buchser remained
not
Negro
and did
Lakes areas which had not then been
In 1867 Buchser
Especially interested in the Indians, he
land and Detroit, thence
oils,
journey in the company of General Sher-
manled him from Missouri through Denver and

to
scenes from
various studies in
of sketches of the Great Plains and the Great
Omaha
in-
Andrew John-
other portraits which have since disappeared.
In addition to this project Buchser painted

ginia
group of (sometimes excellent)
William H. Seward; Generals Banks, Sherman, and Lee; the
poet William Cullen Bryant; and others
were
subjects included President
his finished
93- Niagara Falls

Pencil.
11% x
29.8 x 48.3 cm.,
19 in.
Inscribed and dated: "Niagara, 6
Oktober
1866."
Basel, OerTentliche
94. St.
Kunstsammlung, Print Room. Inv.no. 1896.66.616.
Mary's Rapids
Pencil.
24.5 x 52.6 cm.,
Canada Hudson's Bay

Basel, OerTentliche
Pencil.
21.3
20%
in.
Inscribed and dated: "Rapids of St. Mary,
August 1868."
Chippewa Camp on
95.
9%
Post. 15
x 34.6 cm.,
Inv. no. 1896. 66. 40.
the Rapids
8%
x 13%
in.
Camp on the
am Vordergrund [Small red-
Inscribed and dated: "Chipawa
Rapid. 26 August 1868. Kleine rotlich gelbe Blumchen

dish-yellow flowers in the foreground]."
Basel, OerTentliche
Rhona
96.
Pencil.
Inv. no. 1896. 66. 653.
Floods
10.8
x 22 cm., 4 V4
x8 5/s
in.
Inscribed and dated: "Rivona Floods. 30 Septem-
ber 1870."
Basel, OerTentliche
97. Portrait of a
Pencil.
sitter
30.4 x 25.4 cm., 12 x 10 in.
was presumably Mrs. Frederick Seward,
home
in
98. Portrait of T.
Pencil.
W.
a daughter-in-law of Secretary
St.
Marv,
Basel, OerTentliche
Buchser began
this
at
Sew-
Herick
30.6 x 23.9 cm.,
Esq. from
Inv. no. 1896. 66. 380.
H. Seward ( 80 1-1 87 2 ) The drawing was probably made

Auburn, New York.
of State William
ard's
Inv. no. 1896. 66. 6j6.
Young Lady
Basel, OerTentliche
The
3.
12x9%
in.
Signed.
Inscribed and dated: "T.
September 1868."
Kunstsammlung, Print Room. Inv.no. 1896.66.416.
drawing on the
trip to the
56
Canadian
lakes.
W.
Herick
99- Portrait of Captain Leith

Pencil.
38.5
x 26.8 cm., 15^ x 10%
Boston now of [New?]

Basel, Oeffentliche
in.
Inscribed: "Captain Leith of the City of
[Ashburn?]"
Scotia.
Inv. no. 1896.66.417.
FERDINAND HODLER
Ferdinand Hodler was born in Bern in 1853 an ^ died in Geneva in
and original
who
artist,
spent his whole
ducing modern art into Switzerland. In

a lyrical style,
works (such
tain landscapes,
as
and
had
his style
his earlier
few exceptions they have
paintings,
This lonely
in intro-
tones in
had
his colors
light-
the Infinite), in his
Symmoun-
upper reaches of Lake Geneva, there
interest for us.
little
8.
work Hodler used dark
Toward
strong tendency toward simplified forms. Hodler

a
91
masculine strength and clarity. In his
Night, Eurhythmy, and

his studies of the
Geneva, was instrumental
but by the beginning of the twentieth century
ened and brightened, and

bolist
life in
is
made many drawings, but with
They
are
working sketches for
and are either ideas for the composition or notes for
his
a single figure.
Fortran of a Young Girl
100.
Pencil,
stumped. 19.9 x
Basel, Oeffentliche
15.5 cm.,
7% x6 /s
l
in.
Signed. 19 10.
Inv. no. 1926. 56.
10 1. Self -Portrait
Pencil with pen and ink.
12
12.5 cm.,
4%
4%
in.
Signed (at a
later date).
Winterthur, private collection.
Hodler made
this
is
now
in the
war
sketch in 1891 as a study for a painted self-portrait which
in the
Musee d'Art
101a.
Study for
et d'Histoire,
Geneva.
The Departure
of the
Jena
Volunteers''''
Pencil with watercolor and wash. 55.8 x 25.7 cm., 22 x
10%
in.

In
against
Stoll.
the students at the University of Jena volunteered as a
body
Napoleon. In 1907 the University commissioned Hodler to paint
57
a picture
The drawing
of this historic event.
for the central figure in the lower frieze of
is
the composition.
02.
Study for "Empfhidung"
Pencil.
31x13
cm., 12J4 x
5%
Circa 1901-02.
in.
Winterthur, Kunstmuseum.
Hodler's painting Empfhidung (The Awakening)
in a private collection in Solo-
is
thurn.
103.
View
of
Mont
Blanc
Pen and brush with
india ink
Geneva, Musee d'Art
on squared paper.
x 21.2 cm., 5V4 x
13.2
8%
in.
1918.
et d'Histoire.
This view of the lake and the Alps was from Hodler's home in Geneva.
FELIX
Felix Vallotton
was born
in
Lausanne
cious, highly talented youth, he
1882. There,
VALLOTTON
in 1865
was an
and died
in Paris in 1925.
excellent draftsman.
between 1892 and 1900, together with
his friends
A preco-
to Paris in
and fellow
artists
new
kind of painting
at expressing the intellectual, the abstract concept, rather
than the world
Roussel, Vuillard, Denis, and Bonnard, he helped to develop a
aimed
He went
of nature which employed a deliberate and decorative stylization.
One
sees this
approach most clearly in the woodcuts which Vallotton did for the Revue blanche.
04. Still Life with Currants
Brush and
sepia.
12
16.5 cm.,
4%
6Y2
in.
Signed.
105. Self -Portrait
Pencil. 26.5 x 20 cm., 10 Y2 x
7%
in.
Signed. Circa 1885-87.
Private collection.
106.
Landscape near Fribourg
Brush and india
ink.
31.5
x 23.5 cm., 12% x
Private collection.
58
9%
in.
Signed.
107.
Nude
Brush and
sepia.
31.5
xg /2
x 24 cm., 12%
Signed.
in.
Private collection.
RENE AUBERJONOIS
Rene Auberjonois was born
in
Lausanne
in 1872.
His early years
as a painter
were
spent in study and experimentation. In Paris, at the beginning of the century, he

finally
With
achieved recognition.
return to Switzerland, where he

Valais landscape.
At
this
the outbreak of
fell
under the
time he was able to
war
in 19 14, he
was forced
work with Ansermet, Ramuz, and
Stravinsky, and these associations remained the high point of his intellectual
In his quiet retreat, Auberjonois continued to
by
ist
work became
the outside world. His
cultivated,
who
and capable of
work
his artistic observations
with
and intensively, ignored
more
introspective. Sensitive,
he was an independent, highly skilled art-
in his determination to avoid banality
and the unusual. Auberjonois was
purposely sought out the primitive
superb draftsman
his pencil.
who
His drawings reveal
for years
a rich
108. Self -Fortrait
Basel, Dr. Paul
109.
11% x 8%
in.
Hanggi.
Acrobats
Pencil. 28.9 x 23 cm.,
11% x 9
in.
Basel, Dr. Willi Raeber.
no. Gathering
Pencil.
20.2
the Grapes
14.2 cm.,
8x5%
in.
Diessenhofen, Carl Roesch.
in. Dancer Fastening Her Stocking

Pencil.
19 x 14.6 cm.,
jV2
5%
in.
Signed.
Montreux, Dr. Gabathuler.
59
made many
world and
one, one filled with poetry and sensitivity. Auberjonois died in 1957.
Pencil. 30 x 22 cm.,
life.
steadily
simpler and
self-criticism,
to
spell of the majestic solitude of the
of
strong
ii2.
Mother and Child with
Pencil.
25.2
9%
19.5 cm.,
Wooden Horse
7%
in.
2.
Winterthur, Private collection.
GIOVANNI GIACOMETTI
Giovanni Giacometti (1868- 193 3) was born
in
Stampa
influences contributed to his development as an
in the
Val Bregaglia.
studies in
artist:
Munich
Many
(
1886-
88) and in Paris (1888-91); contact with Segantini in Maloja (1894-99); friendship with his fellow painter,
at his
own
style
which was
Cuno Amiet. By
at
its
best
as a result his paintings
Pencil. 34
seemed to draw with
achieve unusual intensity. Drawings were not the most
his output,
113. Portrait of a
He
to 1920.
and with deep emotional involvement, and
his brush, in sharply contrasting colors
important part of
the turn of the century he had arrived
from 1906
but in these, too, he had
a master's touch.
Young Girl
x 25 cm., 13% x
9%
in.
14.
Peasant Seated at Table
Pen and
ink. 49.8
Basel, OefTentliche
115.
3 2 .4
cm.,
9% x
in.
Inv. no. 1965. 119.
Shepherd Boy
Colored chalks. 34.5 x 38 cm., 13% x
15 in.
Dated
191
3.
EDOUARD VALLET
douard Vallet (1876-1929) was born
in
Geneva. Although he studied for
a time
with Barthelemy xMenn in Geneva, he was largely self-taught. Vallet was one of the
first artists
to
its
to discover the beauties of the Valais country.
simple, self-sufficient
way
of
life
So deeply attuned was he
and the grandeur of its deep valleys and lofty
mountains, that he became their ideal interpreter.
60
1 1
6.
Landscape near Ver covin (Valais)
Pen and
india ink
with wash. 26.5 x 42 cm., ioY2 x i6Y2
in.
Signed.
117. Sleeping
Woman
Chalk. 31.5 x 47 cm.,
12% x 18%
in.
Signed.
Zurich, Kunsthaus. Z. Inv. 1929-25.
The drawing
is
a study for the central figure in the painting Sleeping
dated 1928, which
is
in the Oeffentliche
Kunstsammlung,
in Basel
Wo?nen,
(Depositum der
Schweizerischen Eidgenossenschaf t)
118.
Mavket
at
Cavouge
Gouache and watercolor on green
paper.
x 29.5 cm.,
2 14
1 1
in.
Geneva, Alusee d'Art
et d'Histoire.
LOUIS MOILLIET
Louis Moilliet was born in Bern in 1880. After
many
years of work, he finally
some time between 1909 and 19 14, when he was associated with Paul Klee and August Macke. He went often to Tunisia and to southern
found himself
Spain, and
as
many
an
artist
of his subtle watercolors
show
his
attempts to capture their sun-
drenched colors. Moilliet was a superb watercolorist. So great was

ability that his
enchanting paintings seem to have been created
died in 1962.
119. Eavly
Movning Mist
in
Majovca
Watercolor. 23.5 x 31.8 cm.,
9%
x 12 J4
in-
Dated
1926.
Private collection.
120.
Lucevne
Watercolor. 31.5 x 42.4 cm., 12% x 16%

Private collection.
61
in.
his technical
effortlessly. Moilliet
Signed and dated 191 9.
Morocco
i2i. Sale,
Watercolor. 23.9 x
27.3 cm.,
9%
x 10%
9%
in.
Dated 192
1.
Private collection.
122.
Me denine,
Tunisia
Watercolor. 23.6 x 27.8 cm.,
in.
Dated
1920.
Private collection.
ALBERTO GIACOMETTI
Alberto Giacometti (1901-1966), born in Stampa, in Italian-speaking Switzerland,
was the son of the painter Giovanni Giacometti. His

a very early age.
ever, losing
From
1922
onward he
He
touch with Stampa.
lived
artistic gifts
and worked
strove hard to find his
were revealed
in Paris, without,
own
at
how-
position within the
current movements in the art world and became one of the most respected
artists
Between 1929 and 1935 he exhibited with the Surrealists, but later he went
back to work from nature. His human figures became unnaturally small and elongated. Giacometti was a sculptor as well as a painter, and at the same time was pasin Paris.
sionately fond of drawing.
These drawings, which are of
a rare intensity of ex-
pression and unusual spirituality, are an important part of his oeuvre.
123.
The Studio
12%
Pencil. 49.5 x 32.5 cm., 19V2 x
in.
Zurich, Mrs. Nelly Bar.
24.
Room in
Pencil.
50.2
the
House
at
Stampa
x 33 cm., 19% x
13 in.
Bern, Private collection.
125. Fortran of E.
W.
Pencil. 50 x 32 cm.,
Kornfeld
19% x
i2
/8
in.
Bern, Private collection.
126. Interior with

Pencil.
Basel,
Apples
50 x 33 cm.,
19% x
13 in.
Mr. and Mrs. Franz Meyer.

62
Illustrations
i.
anonymous master,
bern, ca.
500,
Design for a
Window
for a Merchant's Guild
2.
lux zeiner, The Emperor Charlemagne
3.
HANS
fries,
Madonna
4.
lucerne master,
1,
Anna Man gold Asking Intercession
of St.
Anne
urs graf. The Standard-Bearer of
@y
J /
f*
6.
urs graf, Lakeside Village
7.
urs graf, The Flagellation
8.
urs graf. Young Girl
in
Elaborate Dress
9.
urs graf, Strolling Couple
io.
urs graf, Lovers beside a Lake
1.
urs graf, Council
of
Wa
i2.
niklaus maxuel deutsch, The Virgin Mary with the Infant Jesus
niklaus manuel deutsch,
Nude Woman with Two
Children
4-
niklaus manuel deutsch, Death Conies for the Canon
\
15.
niklaus maxuel deutsch. Young
Woman Drawn
in Profile
[6.
niklaus
manuel deutsch, Allegory on Man's
Mortality
i-].
niklaus manuel deutsch, Soldier and
Young
Woman
8.
niklaus manuel deutsch, The Foolish Old
Man
19.
niklaus manuel deutsch,
St.
Christopher
-^F^-
20.
NIKLAUS MANUEL DEUTSCH, Rocky PejlhlSUfo
2i.
niklaus maxuel deutsch, Young Soldier
in a
Landscape
'
jPSfv
-
zz,
fi-
haxs leu. Landscape
5p
^'K
14.
hans leu, The Virgin
Sitting
under
a Tree,
with the Christ Child
.,
Jii
25.
hans leu,
St.
Ursula in a Landscape
2 6.
master
h.
.,
Marching Soldier
27.
master
h.
f.,
Fortune
28.
hans funk. Young Man, Dran-n
in Profile
29.
hans funk. Desig?i for an Armorial Windo;
30.
HANS HOLBEIN THE Y ounger, The Virgin Suckling the Infant Jesus
HANS HOLBEIN THE YOUNGER, The Prodigal
So?l JS
fl
Swi
32.
hans holbein the younger,
St.
Elizabeth of Thiiringia
33.
haxs holbein the younger, Mercenaries
34.
in
HANS HOLBEIN THE YOUNGER, The Bat
Combat
'::'
"
35
hans holbein the younger, Portrait
of Sir
Nicholas Carew
36.
hans holbein the younger, Portrait
of
Lady Mary Guildford
37.
hans holbein the younger, Design for

HAN
Table Centerpiece
38.
hans holbein the younger, Leaina before the Judges
39.
hans holbein the younger, Design for the "Haas zum Tanz"
40.
haxs holbeix the younger, Christ before
Pilate
41.
42.
HAXS HOLBEIN THE YOUNGER,
Two
CentailYS
hans holbein the younger, Design for
Goblet
43-
ambrosius holbeix, Portrait
of a
Young Man with
Cap
44-
ambrosius holbeix. Portrait
of a
Young Man with
Cap
V*
45.
JOST
AMMAN,
BdCchllS
-f
~\
|)
J^g.
'
fa/
mmmm^
m
:
3vkt:
:.
46. tobias
stimmer, Deer Hunt
T
4-. tobias
summer.
Squirrel
"V^^
'
48. tobias
summer,
Selj-Fortrait
49- TOBIAS
stimmer, Courtroom Scene
50. tobias
summer, Three Graces
DANIEL LINDTMEYER, Bathshebd
C2.
DANIEL LIXDTMEYER.
C'V.
iRoW
53
daniel lindtmeyer, Scenes
oj
Feasant Life
54-
hans heinrich wagmann, Girl Reading
55-
Joseph werxer, Selj-Fortrait
56.
Joseph werner. Arndda
57-
Joseph werner, The Witch
oj
Endor
58.
johaxxes dunz, View
of the
Berner Oberland
:.Jr.
.:,*&.
tr
JQrcfitirltefcn
59.
^fas/fa
"
l-'f i
johann rudolf schellenberg. The Schollenen Gorge
'
uifthiritk.
vj
^w
'
%.
if
K- .J*
\
-"r
-
60.
t^T
dffirfftK
\
=*#* /J
jean etienxe liotard. Archduke Peter Leopold
6i.
jean etiexne liotard, Archduchess Maria Karolina
62.
JEAN ETIENNE LIOTARD, Lord MoiWt StllCM
63.
jean etiexxe liotard, The Artist
as an
Old Man
64.
jean etienxe LioTARD. Portrait
oj a
Man
6;.
jean etiexne liotard.
A Woman in the Streets of Chios
'-
Jaf^r
69.
sigmund freudenberger, Harp Player
70.
sigmuxd freudenberger.
Portrait of a
Young Man
"1
Hi
C>'''
-*
*.
<^I
If*
>
*>
fc
I
..
m Ti
>
75-
caspar wolff, Landscape
-6.
JOH ANN HFlNRkU FUSS]
1.
Ft
Girl
77.
JOHaxn heinrich
fussli,
Dante and Vergil
78.
johann heinrich
fussli, Mamillius with a
Lady -in-Waiting
^?*fc^-
r-
8i.
wolfgang topffer, Seated
Girl,
Arms Crossed
83.
Girl in Profile
r
t
Hi
<r
Or*-'
84.
Girl, Side
View
^-
'.'
-m
_.
90.
albert anker. Portrait
of
Eugene Oser
91.
albert anker. Child
in a
High Chair
.'
92.
albert anker, Peasant Boy
94-
frank buchser,
St.
Alary' s Rapids
f
TV
95.
frank buchser, Chippewa Camp
2fcs96.
frank buchser, Rivona Floods
97-
frank buchser,
Portrait of a
Young Lady
frank buchser,
Portrait oj T.
W. Herick
vf
99.
frank buchser,
Portrait of Captain Leith
P H*
ioo.
Ferdinand hodler, Portrait
of a
Young Girl
//~>7~
101.
Ferdinand hodler, Self-Portrait
r H
ioia.
Ferdinand hodler, Departure
of the
Jena Volunteers
102.
Ferdinand hodler, Study for "Empfindung"
I0 3
FERDLVAXD HODLER. VklV
104. felix
vallottox.
of
Still
MoJlt
Life
Bhnc
05. felix
106. felix
vallottox, Self-Portrait
vallotton, Landscape near Fribourl
I07. FELIX
VALLOTTON,
Nude
-'
left
2.
rene auberjonois, Mother and Child
right
113.
Giovanni GiACOMETTi, Portrait
of a
Young Girl
'
left
1
14.
Giovanni giacometti, Feasant Seated
below
115.
Giovanni giacometti, Shepherd Boy
'
at
Table
^^B
.jf
^NIhI
mK/^**"^
fc*AK!Ur6
I I
8.
EDOUARD YALLET. The Market
at
Carouge
:o.
louis moilliet, Early
Morning Mist
in
Majorca
120. louis moilliet,
Lucerne
mt
121. louis moilliet, Sale,
Morocco
i
122. louis moilliet,
Medenine, Tunisia
23.
ALBERTO GIACOMETTI, The
StlldlO
if:
fcjfc
24.
^_
alberto giacometti,
Room
in the
House
at StJJtlpJ
125.
alberto giaco.metti, Portrait
of E.
W.
Kornjeld
A:6.
alberto GiAcoMETTi, Interior
tvith
Apples
Abbreviations Used in References
ASAK
Anzeiger fur schiveizerische Altertumskunde
Baud-Bovy
Daniel Baud-Bovy, Peintres genevois, 1903
Bendel
Max Bendel,
Die Malerjamilie
Holbein
Die Malerjamilie Holbein in Basel, exhibition at the Kunstmuseum, Basel, during the 500th anniversary of the University of
Tobias Summer, 1940
Basel, i960
Ganz Die Handzeichnungen Holbeins
Paul Ganz, Die Handzeichnungen Hans Holbeins des Jiingeren. 191 1-14, Kritischer Katalog. 1937.
Ganz Han dzeichniungen
Paul Ganz, Handzeichnungen schiveizerischer Kiinstler des
XV-XVIII.
Hugelshofer Die
Meisterzeichnung
Jahrhunderts.
volumes. 1904.
Walter Hugelshofer, Die Meisterzeichnung, Volume I,

"Schweizer Handzeichnungen des XV. und XVI. Jahrhunderts." 1928.
Handzeichnungen Urs Grafs.
Koegler Graf
Hans Koegler, Die
Koegler Manuel
Hans Koegler, Die
Thone
Friedrich Thone, Tobias Stimmer: Handzeichnungen, 1936.
Basler
Basler
1926.
Handzeichnungen des Niklaus Man-
uel Deutsch. 1930.
172
References
i. Hans Lehmann, "Die Glasmalerei in Bern

am Ende des 15. und Anfang des 16. Jahrhunderts."
in ASAK, new series, volume XVI, 191 3, page 206,
and volume XVII, 191 4, page 41. Hans Lehmann,
Zur Geschichte der Glasmalerei in der Schweiz,

1925, plate 19. Walter Hugelshofer, Die Meister-
Hans Koegler, Die
5.
des Urs Graf, 1926,
Basler
number
Handzeichnungen
W. Luthi, Urs
136.
Graf und
die Kunst der alten Schweizer, 1928.

Friedlander and Elfried Bock, Handzeichnungen deutscher Meister des /j. und 16.
Max
J.
Jahrhunderts, no date.
volume I, "Schweizer Handzeichnungen des 15. und 16. Jahrhunderts," 1928, plate 7.
Hans Rott, Quellen und Forschungen zur siidivestdeutschen und schweizerischen Kunstgeschichte, volume I, 1933-38, page 212, figure 81.
zeichnung,
Paul Ganz, Handzeichnungen schweizeri1908, volume I, plate 32. Paul

Ganz, Malerei der Fruhrenaissance in der Schweiz,
1924, page 107. Hans Lehman, 90. Neujahrsblatt
6.
Koegler Graf, number
7.
88.
8.
81.
9.
50.
49.
2.
scher Meister,
der
Antiquarischen
Gesellschaft
Zurich,
1925.
Hugelshofer, Die Meisterzeichnung, plate 5. Jenny Schneider, Die Standesscheiben von Lukas
Zeiner im Tagsatzungssaal von Baden, 1954.
3.
ber
Joseph Meder, Albertina Werk, 1896, num1048. Hugelshofer, Die Meisterzeichnung,
10.
18.
11.
57.
Daniel Burckhardt, in Handzeichnungen

schweizerischer Meister, volume II, 1904-08, plate
22. Hugelshofer Die Meisterzeichnung. Hans
Koegler, Die Basler Handzeichnungen des Niklaus
Manuel Deutsch, 1930, number 3. C. Von Mandach, H. Koegler, Niklaus Manuel Deutsch, 1940.
12.
plate 10.
Hugelshofer Die Meisterzeichnung,

Koegler Manuel, number 108.
13.
20.
Lucie Stumm, "Niklaus Manuel, Hans Leu,

und Hans Funk," in ASAK, new series, volume
XI, 1909, page 247. Walter Hugelshofer, Festschrift fur Robert Durrer, 1927. Hugelshofer
Die Meisterzeichnung, plate 40.
plate
4.
14. Stumm, in ASAK, 1909, page 253. Hugelshofer Die Meisterzeichnung, plate 16. Koegler
Manuel, number 102. Paul Zinsli, Der Berner
Totentanz, 1953.
73
15. Ganz Handzeichnungen, volume

Koegler Manuel, number 76.
16.
Koegler Manuel, number
17.
18.
16.
19.
68.
I,
plate 51.
32.
199.
ber 167. Die Malerjamilie Holbein, number 260.
Ganz Die Handzeichnungen Holbeins, num-
33.
5.
317.
ber 140. Die Malerjamilie Holbein, number 302.
35.
ber
33.
ber
Die Malerjamilie Holbein, number
307.
36.
21.
304.
Kiinstlerlexikon,
142.
37.
Schonbrunner-Meder, Handzeichnungen alMeister aus der Albertina und anderen Samm-
23
ter
Thieme-Becker,
Leu,"
page
125.
34.
Walter Hugelshofer, "Das Werk des Ziircher Malers Hans Leu (I)," in ASAK, new series,
volume XXV, 1923, page 167. Walter Hugelshofer, Die Ziircher Malerei bis zum Ausgang der
Spdtgotik, 1928, page 47. Walter Hugelshofer,
1929,
202.
4.
22.
"Hans
32.
ber
20.
31.
ber
ber 219.
lungen, 12 volumes, 1896- 1908,

gelshofer, in
page
ASAK, "Leu
number
(II),"
1387.
Hu-
volume XXVI,
33.
Ganz Handzeichnungen. Hugelshofer, in

ASAK, "Leu (II)," volume XXVI, pages 28-42.
24.
25.
GASzDieHmdzeichnungenKritischer Katanumber m. Die Malerjamilie Holbein,

number 196.
38.
log, 1937,
Hugelshofer, in ASAK, "Leu (I)," volume

page 176; Hugelshofer, Die Ziircher Male-
XXV,
rei bis
zum Ausgang
39.
ber
114.
ber
174.
Hugelshofer Die Meisterzeichnung, plate
38.
27.
Hugelshofer Die Meisterzeichnung, plate
39.
290.
41.
26.
269.
40.
der Spdtgotik, 1928.
ber 252.
42.
ber 209.
Heinrich Alfred Schmid, Jahrbuch der

Kunstsomrmlungen, 1898, page 64.
Ganz Handzeichnungen, volume I, plate 8. Hugelshofer Die Meisterzeichnung, plate 43. Halm,
Degenhart, and Wegener, Hundert Meisterzeichnungen, 1958, plate 36.
28.
preussischen
29. Stumm, in ASAK, 1909, page 255. Hugelshofer Die Meisterzeichnung, plate 43.
A. Woltmann, Hans Holbein und seine

Zeit, 2 volumes, 1863-76. Paul Ganz, Die Handzeichnungen Hans Holbeins des Jiingeren, Kriti-
43.
95.
44.
103.
45.
Kurt
mann,
46.
Pilz,
Die Zeichnungen des Jost
Am-
1933.
Friedrich Thone, Tobias
zeichnungen, 1936, number 97.

bias Stintmer, 1940,
number
Summer: Hand-
Max
Bendel, To-
70.
30.
number 107. W. Waetzoldt, H. Holbein d.J., Werk und Welt, 1938.

Karl Theodor Parker, Die Zeichnungen Hans
47.
scher Katalog, 1911-1937,
Holbeins in Windsor, 1947. Heinrich Alfred

Schmid, Hans Holbein der Jiingere, 1948-1955.
Catalogue of the exhibition, Die Malerjamilie
Holbein in Basel, i960, number 215.
Thone, number
21.
Bendel, number
22.
Ganz Handzeichnungen, volume III, num57. Max Bendel, in ASAK, "Tobias Stimmer,"
48.
ber
1926,
ber
page
119.
Thone, number
57.
Bendel, num-
20.
49. Ganz Handzeichnungen, volume

Thone, number 410.
174
I,
plate 57.
Bendel, number
90. Conrad von Mandach, Albert Anker, 1941.

Katalog der Sammlung Arthur St oil, 1961, plate
50.
Thone, number
59.
Heinz Keller, Winterthurer Kleinmeister,
26.
103.
140.
I0 4760.
Frieda Beerli, Die Kinder der Kaiserin, un-
dated, Insel-Buchlein
number
613.
61. Beerli.
93. H. Lldeke, Frank Buchsers amerikanische

Sendung 1866-1871, 1941. Gottfried Walchli,
Frank Buchser, 1941. Frank Buchser, Mein Leben
und Streben in Amerika, edited by Gottfried
Walchli, 1942.
63.
Francois Fosca, Liotard, 1928, page
64.
Daniel Baud-Bovy, Peintres genevois, vol-
128.
100.
Walter Hugelshofer, Ferdinand Hodler,
1952.
ume
I,
1903,
page
Katalog der Sammlung Arthur St oil, 1961,
101a.
28.
number
66.
Baud-Bovy, volume
I,
page
45.
104.
71.
Keller, page
Arnold Federmann, Johann Heinrich FiissPaul Ganz, Die Zeichnungen Hans Heinrich Fiisslis, 1947. Nicolas Powell, The Drawings
of Henry Fuseli, 1951. Frederick Antal, Fuseli:
Studies, 1956. Gert Schiff, Zeichnungen von Jo1927.
hann Heinrich
Fiissli,
108. C. F.
114.
Ramuz, Rene Auberjonois,
Baud-Bovy, volume
Schmid, plate
1943.
metti, 1936.
116.
Maria Pichereau, fcdouard
Vallet, 1934.
1963.
I,
page
XX.
19.
88. Heinrich Alfred Schmid, Arnold Bocklin,

Handzeichnungen, 1921, plate 22.
89.
Vallotton et ses
Walter Hugelshofer, Giovanni Giaco-
119. Article
82.
Felix
amis, 1936. Francis Jourdain, Fe/z'x Vallotton, 1953.
13.
76.
li,
374.
Hedy Hahnloser,
175
Kiinstlerlexikon
der Schweiz
Jahrhundert, page 648. 1963.
Ernst Scheidegger, Alberto Giacometti,

Charles Dupin, Alberto Giacometti, 1962.
Katalog der Sammlung Werner und Nelly Bar,
123.
1958.
1965, plate 89.
28.
in:
Index of Artists
Ludwig Aberli
Younger
71-72
Hans Holbein
cat.
30-42
cat.
45
Jean Huber
cat.
66
Albert Anker
cat.
90-92
Hans Leu
cat.
22-25
Rene Auberjonois
cat.
108-112
Daniel Lindtmeyer
cat.
51-53
Johann Jakob Biedermann
cat. 80-81
Jean Etienne Liotard
cat.
60-65
Arnold Bocklin
cat.
87-89
Frank Buchser
cat.
93-99
Anonymous
Anonymous
Jost
cat.
Amman
the
Master, Bern, ca. 1500 cat.
Master, Lucerne,
1 1
cat.
4
26-27
Niklaus Manuel Deutsch
cat. 12-21
Master H.F.
cat.
Johannes Diintz
cat.
58
Louis Moilliet
cat.
Sigmund Freudenberger
cat.
69-70
Johann Rudolf Schellenberg
cat.
59
Hans
cat. 3
19-122
Tobias Stimmer
cat.
46-50
cat.
28-29
Wolfgang Adam Topffer
cat.
82-85
cat.
76-79
Edouard Vallet
cat.
1 1
Alberto Giacometti
cat.
123-126
Felix Vallotton
cat.
104-107
Giovanni Giacometti
cat.
Ludwig Vogel
cat.
86
Urs Graf
cat. 5-1
Hans Heinrich Wagmann
cat.
54
Anton Graff
cat.
Joseph Werner
cat.
55-57
73-75
Fries
Hans Funk
Johann Heinrich
Fussli
Ferdinand Hodler
cat.
Ambrosius Holbein
cat.
3-1 15
67-68
100-103
Caspar Wolff
cat.
43-44
Lux
cat. 2
176
Zeiner
6-1 18

Swiss Drawings - Masterpieces of Five Centuries (Art Ebook)

Transféré par

Informations du document

Titre original

Copyright

Formats disponibles

Partager ce document

Partager ou intégrer le document

Options de partage

Avez-vous trouvé ce document utile ?

Ce contenu est-il inapproprié ?

Droits d'auteur :

Formats disponibles

Swiss Drawings - Masterpieces of Five Centuries (Art Ebook)

Transféré par

Droits d'auteur :

Formats disponibles

<*5

Organized by the Pro Helvetia Foundation

Smithsonian Institution Press

available in a hardcover edition

The material for

the Smithsonian Institution Press.

the exhibition ivas prepared under the direction of the

Smithsonian Institution Traveling Exhibition Service

National Gallery of Art Washington,

The Pierpont Morgan Library new york, new york

M. H. de Young Memorial Museum san francisco, California

DESIGNED BY CRIMILDA PONTES

PRODUCED BY THE MERIDEN GRAVURE COMPANY AND THE ANTHOENSEN PRESS

Swiss Drawings-Masterpieces of Five Centuries

has had the privilege of viewing the full

time that the American

sweep of Swiss draftsmanship from the

teenth to the present century, from Holbein to Giacometti.

lenders, both public

treasures for a long period.

through the good will of the

have graciously consented to part with their

which has enabled us

superb collection to the United States.

Helvetia Foundation must go our profound thanks.

Boissonnas, Secretary General of the Foundation, and his entire

Mrs. H. Wiithrich, secretary. Thanks to the generous support of the Foundation,

not have been part of the exhibition.

works which otherwise might

involved in bringing the collection to this country.

Mr. Hugelshofer for the dual

Our sincere thanks are due

Pro Helvetia Foundation.

Hanspeter Landolt for

His Excellency, Felix Schnyder, the Ambassador of Switzerland, has graciously

it is on tour in the United States. We are most

agreed to sponsor the exhibition while

Switzerland, for his constant help and encouragement during

stages of the nego-

extended to Dr. and Mrs. Edgar Breitenbach for their

tiation, transport, preparation,

Frances P. Smyth of the

and publication of the catalog were handled by Miss

of the Traveling Exhibition Service, an office of the

United States National Museum, under the direction of Mrs. Dorothy T.

Dillon Ripley, Secretary

The Pro Helvetia Foundation

Pro Helvetia Foundation for Cultural Relations with For-

eign Countries was originally created in

1939 both to maintain and promote

and achievements of Swiss thought and culture

present form in 1949.

under the supervision

of the Swiss Federal Council. In addition to sending printed materials abroad,

of the country. Pro Helvetia's constant endeavor

other countries with the highest expression of Swiss cultural

Federal Gottfried Keller Foundation

Arlesheim, Professor Arthur

Karlsruhe, Staatliche Kunsthalle

and Mrs. Franz Meyer

Basel, Dr. Willi

Museen, Print Room,

Miss Claire Oederlin