The prominent Eberler family of Basel selected canting arms, that is, bearing the image of a boar; Eber means boar in German. Mathis Eberler (ca. 1440–1502) was a member of a Jewish banking family that had converted to Christianity in the early fifteenth century, adopting the name of Grünenzweig (Burckhardt, 1905, pp. 246–276). One also wonders if the lush growth in the frame might be a reference to the adopted name that translates as “green twig.” In 1461 Mathis Eberler married the wealthy twice-widowed, and considerably older Barbara von Albeck (Burckhardt, 1905, pp. 260–262). Shortly afterwards, in 1464, he commissioned the “Eberler Bible” (Österreichische Nationalbibliothek, Cod. 2769; Fingernagel, & Gastgeber, 2003, pp. 154–63, no. II.8). At the beginning of the manuscript (fol. 1v) the arms of Eberler appear with an inscription giving the name of the patron. Mathis Eberler’s residence, the Engelhof, purchased in 1477, demonstrated his prominence as one of Basel’s wealthiest citizens. Located next to the church of St. Peter, the structure was embellished with statuary of angels at the corners as well as his arms. Undoubtedly his commission about 1480–1490 of a tapestry on the theme of the Nine Heroes was also for the residence (Historisches Museum, Basel, Inv. 1870.740; Buri, & Stucky-Schürer, 1990, pp. 222–27, no. 52 about the tapestry; pp. 90–91 about Mathis Eberler). The Eberler-von Albeck union was childless. Mathis did, however, father five illegitimate children by a mistress whom he installed in a castle located at the gates of the city. Giesicke suggests that the Getty panel may have been an embellishment for this site, as it contains such pointed references to the pursuit of love as well as an image of an elegant and beautiful lady (Giesicke, 2002, p. 18).
The discovery of a panel in the Frauenfeld Historic Museum (TG_10) that apparently employs the same cartoon at the Getty panel has opened up a rich avenue for the discussion of style and communication among workshops. The panel is clearly not by the same artist. The Frauenfeld panel follows some conventions of draftsmanship familiar from the workshop of Lucas Zeiner, an important artist of Zurich, active ca. 1480–1510, known from work in collections including the Metropolitan Museum of Art and the Victoria and Albert Museum (Stained-Glass Panel with a Coat of Arms and a Female Supporter, workshop of Lukas Zeiner, Metropolitan Museum of Art, 2000.135 and Heraldic Panel with the Arms of Balthasar II von Hohenlandenberg, ca. 1500, London; Victoria and Albert Museum, C.42-1919; VAM_10). Although less plentiful, the undulating leaves in the architecture of the Metropolitan’s panel show tightly wound curves similar to those in the Eberler arms.
The design of the helms in the Metropolitan, Victoria and Albert, and Frauenfeld panels are virtually identical. Protruding, rounded bars frame the eye-opening and accents the emphasis on curving forms dominating the composition; they are, however, unlike that of the Getty panel. The head of the Getty supporter is most similar to that in the Metropolitan panel, oval with small eyes, full cheeks, and a tiny chin. The Frauenfeld panel presents a face that is much rounder with a shorter, fuller nose and with larger eyes that look forward, very different from the Getty head.
There are several theories about the Getty date and commission; which artist/workshop, and which member of the Eberler family. The reuse of cartoons is not a definitive proof of artists or even a close date. For example, the same cartoon of a Virgin and Child was employed by different glass painters, although possibly from the same workshop, at three different sites in Normandy from 1490 through 1520 (Hérold, 1995, pp. 114–21). The windows from Stoke Poges, dated 1510–1525, in the Detroit Institute of Arts, give every evidence of being the work of a single designer but executed by artists who employed very different drafting techniques (Raguin, & Zakin, 2001, vol. 1, pp. 201–210).
Barbara Giesicke (2002, pp. 11–19) had argued for a connection to the Basel stained glass family of Antoni Glaser active from about 1480/85 to 1551. Glaser created panels for the Basel Town Hall in about 1517–1520. He was distinguished for his design of ornament, evidenced in the Arms of Lucerne from that series (Butts, & Hendrix, 2000, pp. 290–291, no. 137, fig. 95). Two additional Basel panels were honored by Hermann Schmitz by their inclusion in his work on German glass (Schmitz, 1923). The architectural framework for the panel honoring Appenzell (BS_992) shows a similarly populated display of nude and clothed figures, including dancing bears, engaged in sprightly interaction. The architecture above the columns becomes an exuberant mass of leaves and flowers framed by a god and a goddess. The dense painting in the columns, base, shield, and supporters echo the richness of the surfaces in the Getty panel. Glaser was preceded in the craft by his grandfather Michel and his father Sebastian Glaser who died in 1494. Given the similarity of workshop practices, Giesicke suggests that it is likely that one of his family members, most likely Sebastian, executed the panel. She argues that Mathis Eberler, also of Basel, commissioned the panel, so that it must date before his death in 1502 (Giesicke, 2002, p. 18).
Other scholars stress a connection to Lukas Zeiner, a glass painter in Zürich. His widespread influence is associated with his series of heraldic shields of ten Cantons of Switzerland installed in the Council Chambers of Baden’s City Hall in 1501 (Hasler, 2002b, pp. 10–14; see https://vitrosearch.ch/de/buildings/2643448). The design codified the layout for the display of heraldic arms for municipalities. Sold in 1812, the panels are dispersed in various collections including five in the Swiss National Museum, Zurich (Uri IN-2, Schwyz IN-2.2, Zurich LM-12804, Solothurn LM 12805, Lucerne LM 2344; Schneider, 1954). Rolf Hasler and Sarah Keller (2020) further suggest that the Getty panel may have been commissioned by another branch of the Eberler family. Niclaus, a resident of Baden, was recorded in 1492 as a judge, in 1497 as a member of the Council (Ratsherr) and finally between 1501 and 1504 holding the office of mayor (Burckhardt, 1905, p. 268). His death is recorded in 1531. He may very well have been involved in the commissionning of the windows of the City Hall. Uta Bermann, CV Switzerland, suggested that the framing of the Getty panel seems later than Zeiner’s 1501 Standesscheiben in Baden. Is it possible that Niclaus would have acquired the cartoon personally to be executed later by an artist of his choosing? Or, would a cartoon be a workshop product that could be acquired by other workshops?
Although still highly tentative, the association of the panel with Mathis Eberler of Basel has several compelling points of argument. The Glaser workshop was located in the same city. Mathis has been documented as a wealthy, cultivated and artistically sophisticated patron of the arts. The subject matter of courtly romance resonates with his own personal history. There is no panel within the Zeiner workshop that incorporates so elaborate a frame. The question, however, remains open.
The frame’s transformation of its architecture into natural growth became an oft-chosen artistic conceit. Scenes of falconry occupy the upper portion of the panel. The true object of the hunt is love, represented by the mutual interest of the ladies on the left and the long-tressed young gentlemen on the right. The standard male/female allocation is reversed, now the male is to the sinister (viewer’s right) and females take the place of honor on the dexter side. Perhaps this is an effort to evoke ancient conventions of courtoisie, when the male contended that the woman is his sovereign, for she was the mistress of his heart (Giesicke, 2002, pp. 12–14).
Cited in:
Michael, 2002, pp. 7, 52–55, 116, no. 21.
Raguin, 2013, pp. 54, 66–69, fig. 45.
Raguin, 2024, vol. 1, pp. 27–28, vol. 2, pp. 84–99.
Moins 
