Lot 6: Daniel Lindtmayer , Schaffhausen 1552 - 1606/07 Lucerne the arms of Habsberg flanked by an elegant couple Pen and black ink and gray and black wash; vertical fold; signed with initials and dated in black ink below coat of arms: DL 1587 ; also

Pen and black ink and gray and black wash; vertical fold; signed with initials and dated in black ink below coat of arms: DL 1587 ; also inscribed with color notes in gray ink; bears inscription and date, lower center: W.G.D.A. 1591 / Habsberg ist abgestorben / beÿ Horb zu Instetten

measurements note 329 by 207 mm

Munich, Münchener Glaspalast, Katalog für die Ausstellung der Werke älterer Meister, 1876, part II, no. 2579;
Schaffhausen, Museum zu Allerheiligen, Daniel Lindtmayer 1552-1606, Handzeichnugen, 1952, catalogue by H. von Ziegler, no. 110

F. Warnecke, Musterblätter für Künstler und Gewerbetreibende, part II, 1883, fig. 75;
F. Thöne, Daniel Lindtmayer 1552 - 1606/07, Munich/Zürich 1975, p. 193, cat. no. 170, fig. 217

Johann Wilhelm Veith, 1758-1833 (?);
D. Schindler, by 1876 (L.793);
Freidrich Bürki,
his sale, Basel, 1881;
sale, Berlin, Amsler & Ruthardt, 24 April, 1895, lot 33;
sale, Berlin, Amsler & Ruthardt, 25-7 June, 1908, lot 309;
Prince Liechtenstein, Vienna, circa 1930

In Lindtmayer's time, the leading Swiss member of the Habsberg family was Hans Hartmann von Habsberg, Chief Magistrate of Badenweiler, who may have commissioned this design. Other similar panels with motifs of battles with the Turks are also known from this period. For much of the 16th century, the Habsberg rulers of Austria were engaged in relentless wars with the Ottoman Turks. Following their crushing defeat at the maritime Battle of Lepanto in 1571, the Ottomans were briefly subdued, but resumed their westward campaigns in earnest in 1593 -- the beginning of the 13-year-long Great Hungarian War. The present drawing was therefore made at a time when the immediate threat from the Turks had receded somewhat, but they remained an ever-present concern. Another drawing by Lindtmayer in Munich, also dated 1587, shows an extremely similar composition, though with only Europeans engaged in battle.υ1 Like so many specialist designers of glass panels, Daniel Lindtmayer's first teacher was his father, Felix, who was also a celebrated master of this particular art form. The elder Lindtmayer's achievements were, however, soon eclipsed by those of his son, who became one of the most highly regarded of all the 16th-century Swiss artists who made glass designs. Another important early influence on Daniel Lindtmayer came from Tobias Stimmer, who worked in Schaffhausen and then Basel, where Lindtmayer also established himself in about 1574. Stylistically, his mature works are characterised by a richness of composition and highly elaborate architectural strapwork borders, as well as by an exceptional energy of line. In 1588, Lindtmayer married the widow of Werner Kübler (see lot 27). His later life seems to have been somewhat turbulent. In 1595 he was accused of attempting to murder a goldsmith named Stülz in Constance, but escaped punishment on grounds of insanity. 1. Thöne, op.cit., cat. no. 169, fig. 216