Carefully staged work of chivalric self-aggrandisement: The barons of Hohenklingen are depicted in front of the stable in Bethlehem, the same size as the Three Wise Men.
In Brazil, illustrator and graphic artist Oswaldo Goeldi is considered a master of the art of expressionist xylography – the art of engraving on wood. In Switzerland, the work of this Swiss-Brazilian dual national is yet to be discovered.
A drinking bowl from Stein am Rhein is among a trove of precious glass finds dating from the Roman era. The piece itself is spectacular, but the circumstances of its discovery are just as remarkable.
His, more than any other, was the hand that shaped Switzerland’s image in the 19th century: Zurich-born artist, watercolourist and art publisher Rudolf Dikenmann. His prints produced using the aquatint technique were churned out in their thousands: for travellers, collectors and members of the public.
In 1720, not long after its publication, the first German translation of Daniel Defoe’s Robinson Crusoe came out. Zurich academic Johann Jakob Bodmer recommended it to the ladies of Zurich for reading. In 1818, a ‹Little Robinson for the entertainment of young persons› was published in Zurich.
From 1913 to 1991, the present-day home of the Zurich Tonhalle Orchestra and lofty Prime Tower was a major centre for the production of gears, pumps and machine tools. And from 1907 to 1910 was the birthplace of a few dozen SAFIR brand automobiles.
The sun and lettering in the design of the resort town of St. Moritz is the oldest still-used tourism trademark in the world. The symbol and logo were created in 1932 by Zurich graphic designer Walter Herdeg.
