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Andreas Stolzenburg

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[Kristoffel; Stoffel]

(b Zurich, Feb 1558; d Winterthur, March 27, 1614).

Swiss glass painter, woodcut designer, etcher, book illustrator and writer. He was the son and pupil of the glass painter and councillor Jos Murer (1530–80), founder of a family of artists who lived in Zurich in the 16th and 17th centuries. In 1577 he collaborated with his father on a cycle of 13 pairs of panes representing Thirteen Historic Scenes of the Swiss Confederation for the Zisterzienkloster of Wettingen, Aargau. Christoph’s monograms (sm, stm) are on three panes. He probably followed this work with study travels. In 1579 he designed a cycle of panes in Basle for the well-known citizen Leonhard Thurneysser (1531–96), celebrating the adventurous life of this much-travelled goldsmith, alchemist, astrologer and personal physician to the Elector of Brandenburg. Of the original cycle, two paintings, including the Birth of Leonhard Thurneysser of Basle in 1531 (1579; Basle, Öff. Kstsamml.), and two design sketches (?...

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Andreas Stolzenburg

Swiss family of artists. Christoph Stimmer I (b Burghausen, c. 1490; d Schauffhausen, 23 Oct 1562) worked in Konstanz as a schoolmaster from 1520 to 1532, but was also a calligrapher and painter. There are glass paintings (14 panels, 1524–5) signed with his name in Pfullendorf Town Hall, and he also used contemporary prints by such artists as Hans Leu II, Niklaus Manuel Deutsch and Hans Holbein the younger as models for his compositions. In 1532 he moved to Schaffhausen, where he became a citizen and a member of the guild in 1535, and worked as a bookbinder in 1558. Of his 11 children, (1) Tobias Stimmer was the most famous (see Switzerland, §III), and at least five of his other sons were also artists. Christoph Stimmer II (b Konstanz, c. 1520–25; d Rottweil, before Oct 1562) was a calligrapher, (2) Abel Stimmer was a painter and etcher, ...

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Andreas Stolzenburg

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Ilja M. Veldman

(b Ghent, c. 1503; d Ghent, after Feb 4, 1578).

Flemish painter and designer of stained glass and book illustrations. His dates can be deduced from several amendments to his will. Archives reveal that he was fined during the heretics’ trial of 1528 because of his Reformist sympathies. In 1538–9 he was paid for painting the blazon of the Ghent rhetoricians’ chamber ‘De Fonteyne’ for the rhetoricians’ festival of 1539. Van Mander called him a good painter, particularly skilled in the depiction of architecture and perspective, and he mentioned a painting of the Woman Taken in Adultery (untraced) and designs for windows in St Bavo’s, Ghent. De Witte’s work is now known only through his designs for book illustrations. The most important publication is Willem van Branteghem’s Iesu Christi vita (Antwerp, 1537) published by Matthias Crom, also in a Dutch and French version. The book contains a Latin acrostic on levinus de vvitte gandensis, written by Joris Cassander, which awards special praise to de Witte. It includes 186 woodcuts and numerous vignettes, in a highly characteristic style, full of picturesque and narrative detail. The woodcuts were reprinted and copied many times as illustrations to the Bible, and they also influenced the work of other artists such as Maarten van Heemskerck. De Witte also designed book illustrations for the Ghent printer ...