A Swiss stained and leaded glass figural panel, possibly Bern, the central panel dated 1607 and with later elements, depicting three Landsknechte, dressed in vibrant costumes and wearing feathered hats, two holding a halberd and another with a beaker, standing before a diapered and balustraded background, the lower reserve with inscription and central armorial shield with standing bull, inside a likely later arrangement of circular segments with two further stained roundels, later fitted to a stained wood light box frame, approximately 93cm high, 61cm high overallWhile Swiss mercenary guards were a popular theme for Wappenscheibe (armorial panels) such as the present lot, the arrangement of three figures is unusual. The compositional arrangement of guards on a geometrically demarcated podium and the handling of the sprawling landscape in subtle yellow tones to the upper reserve, show distinct similarities to late 16th and early 17th century panels from the Bern region of Switzerland. Note for example the panel with Ulrich, Jakob and Gilgen Hess, dated 1586, in the collection of the Historisches Museum in Bern. An early 17th century panel which uses a similar cartouche-form device surrounding the inscription and a contemporary architectural backdrop to the figures (as with the balustrade in the present panel) is in the Metropolitan Museum of Art, accession no. 1974.28.190.
A Swiss stained and leaded glass figural panel, possibly Bern, the central panel dated 1607 and with later elements, depicting three Landsknechte, dressed in vibrant costumes and wearing feathered hats, two holding a halberd and another with a beaker, standing before a diapered and balustraded background, the lower reserve with inscription and central armorial shield with standing bull, inside a likely later arrangement of circular segments with two further stained roundels, later fitted to a stained wood light box frame, approximately 93cm high, 61cm high overallWhile Swiss mercenary guards were a popular theme for Wappenscheibe (armorial panels) such as the present lot, the arrangement of three figures is unusual. The compositional arrangement of guards on a geometrically demarcated podium and the handling of the sprawling landscape in subtle yellow tones to the upper reserve, show distinct similarities to late 16th and early 17th century panels from the Bern region of Switzerland. Note for example the panel with Ulrich, Jakob and Gilgen Hess, dated 1586, in the collection of the Historisches Museum in Bern. An early 17th century panel which uses a similar cartouche-form device surrounding the inscription and a contemporary architectural backdrop to the figures (as with the balustrade in the present panel) is in the Metropolitan Museum of Art, accession no. 1974.28.190.
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.jpg "Quelle: Christie's")
