Switzerland Its Essays and Proofs

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Part Seven The Essay Proof Journal, Whole #13, Vol. 4 No. 1, January 1947, pp. 21-27 Switzerland Its Essays and Proofs By George W. Caldwell, E. P. S. 318 (Continued from JOURNAL No.

1 Part Seven The Essay Proof Journal, Whole #13, Vol. 4 No. 1, January 1947, pp Switzerland Its Essays and Proofs By George W. Caldwell, E. P. S. 318 (Continued from JOURNAL No. 12, page 237) Miscellaneous Essays During the closing years of the nineteenth century, and in the early part of the twentieth, we note considerable activity among artists of various levels of proficiency, in an effort to produce stamp designs that would be truly representative of Switzerland, and that would meet with favor in the eyes of the public. Naturally, much of this activity was due to the Essay Contest of (30) Nick Augustin, writing in the Helvetia Bulletin, (31) states there were about 500 sketches submitted in this contest by close to 300 artists. For a nation so small geographically as Switzerland, this response seems almost incredible. It seems strange also that among such a large number of essays, none were found worthy of use at the time. According to Augustin, the Department eventually purchased almost all these designs; but, unfortunately these do not appear to have been philatelically recorded, unless some of those we treat under the present caption belong to that group. Fig. 28 Munger Essay Rudolf Munger, of Paris, has endeared himself to philatelists throughout the world by his magnificent work on the Heraldic Series of Pro Juventute stamps. His outstanding artistry is further exemplified in his treatment of the Standing Helvetia composition. Without adding materially to the main features of that official design, Munger produced an essay (Fig. 28) of far greater artistic merit. Just why the Department failed to use this essay remains to be discovered. By conjecture, we might presume this to have been due to the similarity, in composition, to that of the issued stamp. This essay is illustrated in Zumstein but no details are given. 30 See JOURNAL No. 11, page Helvetia Bulletin, Vol. 9, page

Fig. 29 Fig. 30 Girardet Essay A totally different arrangement of the Standing Helvetia design-features is seen in an essay (Fig. 29) submitted by Max Girardet, recess printer of Bern.

Dictionaries define a fasces as a symbol of authority, but it is obvious that the artist meant to symbolize the twenty-two autonomous states of Switzerland closely and firmly bound together in a

2 Fig. 29 Fig. 30 Girardet Essay A totally different arrangement of the Standing Helvetia design-features is seen in an essay (Fig. 29) submitted by Max Girardet, recess printer of Bern. The artist not only rearranged the design, he also substituted a fasces for the spear. Dictionaries define a fasces as a symbol of authority, but it is obvious that the artist meant to symbolize the twenty-two autonomous states of Switzerland closely and firmly bound together in a Federal Union. p. 22 This essay is found in two denominations: 10 Centimes and 25 Centimes. These were intaglio printed from plates probably of 100 subjects. Proofs tend to indicate that the original die was etched, although some hand-engraving may have been done. According to the record, (4) the plates together with the 25 Centimes essays were purchased by the Department. The 10 Centimes essays, on the other hand, were sold to collectors. These essays are known in various colors and on several weights of cardboard as well as on white wove paper. Cross and Figure of Value This essay (Fig. 30) should not be confused with the issued stamp (Scott s design A19) which is known by this name. The general design of the essay parallels that of the issued stamp but the several features are very much altered. It would seem that the artist was simply attempting to provide a design that would improve the then current stamp. His failure to accomplish this aim is obvious. There is no evidence that this essay had anything to do with the processing of the approved design. Furthermore, aside from its being pictured in Zumstein, documentation is lacking. The Oath of Ruetli The Oath of Ruetli, or more specifically the swearing to the Pact of Independence (32) is in the same category as our Declaration of Independence it started Switzerland on its way as an independent nation. This essay (Fig. 31) depicts three men, with upraised right hands, swearing to the Pact. These represent Werner Stauffacher of Schwyz, Walter Fuerst of Uri, and Arnold von Melchtal of Unterwalden. 4 Zumstein Handbuch uber die Briefmarken der Schweizerischen Eidgenossenschaft Bern, See JOURNAL No. 7, Page

delegates from their respective Cantons. This vignette was copied from a fresco, in the Tell Chapel, painted by Ernst Stuckelberg (or Stickleberger).

23 The frame of this essay is almost an exact duplication of the Libertas Essay, (34) so much so, that at first glance, one might consider it as having been a transfer from that essay.

3 delegates from their respective Cantons. This vignette was copied from a fresco, in the Tell Chapel, painted by Ernst Stuckelberg (or Stickleberger). It has been recorded (33) that the work of this artist on the Tell Chapel frescos in brought him national renown. p. 23 The frame of this essay is almost an exact duplication of the Libertas Essay, (34) so much so, that at first glance, one might consider it as having been a transfer from that essay. All copies seen by the author have large margins, indicating their having been printed from a single die. Indications of intaglio etching and also hand engraving are present. They have been noted in several colors on light-weight, well-calendered cardboard. Fig. 32 Fig. 31 William and Walter Tell Mention of Ruetli brings to mind the contemporary legendary character, William Tell and the apple episode. Both the founding of the Swiss Republic, on that memorable night, in the meadow of Ruetli; and the Apple Drama were motivated by the one force: tyranny on the part of the Austrian bailiffs or middle-men. lt was against this tyranny that the people of the three Forest Cantons declared their independence and set up the first permanent Swiss League the beginning of Switzerland as a nation. It is not difficult to understand Tell s refusal to salute the tyrant Gessler s cap; legend portrays Tell as a man of great strength, and fearless; hardly the type to humble himself by publicly acknowledging the authority of such a hated character as Gessler. One of the artists of the period under discussion used this legendary character and his son, Walter, in a vignette for his essay (Fig. 32). Here we see the two famous characters walking along the road, Tell with his everpresent cross-bow slung across his shoulder, holding his son by the hand. ln imagination, one might visualize this scene as having taken place just prior to the eventful episode in which Tell s courage very outstanding, according to legend was put to an extreme test. p. 24 This essay is illustrated in Zumstein (4) but details are lacking. The Tell Chapel Essay Monuments, statues and various memorials constantly remind the Swiss of their legendary hero. One of the most pretentious of these, perhaps, is the Tell Chapel erected on the shore of Lake Lucerne at a spot, Dictionnaire historique et biographique de la Suisse, Tome sixieme, p. 390 Neuchatel, See JOURNAL No. 10, Page 87.

according to legend, where Tell landed after leaping from the boat on which, as a captive, he was being taken to his incarceration. An essay (Fig.

design SP87) the angle of view differs slightly. In view of this similarity, one might hazard the guess that this vignette was used as a model in designing the semi-postal.

The style of art used for the frame and the legends, suggests the possibility that this essay was designed during the latter part of the nineteenth century; and accordingly, we tentatively include it

Wildschut which we use in the absence of a more definite designation. We presume this to be the name of either the designer or the engraver.

4 according to legend, where Tell landed after leaping from the boat on which, as a captive, he was being taken to his incarceration. An essay (Fig. 33) recently acquired by the author, depicts this chapel, the lake, and, as a back-drop, the Uristock Peak, a scene almost identical with that shown on the 1938 National Festival Stamp (Scott s design SP87) the angle of view differs slightly. In view of this similarity, one might hazard the guess that this vignette was used as a model in designing the semi-postal. This is a large die-essay, typographed in deep orangevermillion, on thin, white, vertical laid paper. The die apparently was etched. The style of art used for the frame and the legends, suggests the possibility that this essay was designed during the latter part of the nineteenth century; and accordingly, we tentatively include it in the grouping under immediate discussion. Fig. 34 Fig. 35 Fig. 33 Fig. 36 The Wildschut Essay In the lower part of the frame of this essay, appears the name H. Wildschut which we use in the absence of a more definite designation. We presume this to be the name of either the designer or the engraver. Fortunately, with this essay, we are in position to illustrate the several steps in production from rough preliminary sketches to the finished work. It is common practice, in many instances, for artists to sketch, in more or less crude form, one or more designs in an effort to hit upon an idea worthy of development. Three such sketches (Figs. 34, 35 p. 25 and 36) used in developing the Wildschut Essay are in the author's collection. Two of these (Figs. 34 and 35) are practically the same, one being merely preliminary to the other. A third sketch (Fig. 36) shows considerable modification, although retaining much of the basic design of the other two. Further experimenting can he seen in Figure 35. ln the right panel, the word Franco appears, whereas the corresponding panel at the left contains a row of stars; the figure of value in the lower left corner is colorless while the other three are in solid color. The vignettes of these sketches were copied from the coinage of the period, the standing female figure appearing on the silver coins, and the Liberty head on the coins of 20 Centimes and less. 45

Fig. 37 Fig. 38 Fig. 39 The final model, carefully drawn for the engraver s use, is shown in Figure 37; and an impression from the finished die is illustrated by Figure 38.

The die impression shows indications of both etching and hand-engraving. The copy in the author s collection is in black on white cardboard of medium weight.

Obviously this essay was too large for use as a postal-adhesive stamp, a fact that appears to have been observed at the time. Hence a cliche (Fig. 39) of smaller size -- 18½ x 22½ mm.

5 Fig. 37 Fig. 38 Fig. 39 The final model, carefully drawn for the engraver s use, is shown in Figure 37; and an impression from the finished die is illustrated by Figure 38. A comparison of these two shows further design changes, probably initiated by the engraver. It should be borne in mind that engravers likewise are artists. The die impression shows indications of both etching and hand-engraving. The copy in the author s collection is in black on white cardboard of medium weight. Plate impressions size of plate not known are found in several colors. The design of these is the same size as the die impression 27½ x 33¼ mm. Obviously this essay was too large for use as a postal-adhesive stamp, a fact that appears to have been observed at the time. Hence a cliche (Fig. 39) of smaller size -- 18½ x 22½ mm. was made and die essays in several colors pulled. p. 26 This cliche checks exactly, even to the finest lines, with the larger design, thus proving that the reduction was made by a photographic process. Essays Standing Helvetia by Rudolph Munger (Fig. 28) No Centimes (35) Standing Helvetia submitted by Max Girardet (Fig. 29) Intaglio plate-impressions; imperforate. No Centimes, carmine; on cardboard (129E-C4) No Centimes, black-brown; on cardboard (129E-C4) No Centimes, blue-green; on cardboard (129E-C4) No Centimes, yellow-green; on cardboard (129E-C4) No Centimes, light blue, on cardboard (129E-C'4) No Centimes, brown-red; on cardboard (133E-A4) No Centimes, black-brown; on paper (133E-A5) No Centimes, dark-purple; on paper (133E-A5) No Centimes, blue; on paper (133E-A5) Cross and Figure of Value (Fig. 30) essayist not known. No Centimes (35) 35 This essay is illustrated in Zumstein; further details not recorded. 46

6 Oath of Reutli (Fig. 31) essayist not known. Intaglio die-impressions, on light weight cardboard. No Centimes, light gray-green (131E-C1) p. 27 No Centimes, light gray-brown (131E-C1) No Centimes, dark slate (131E-C1) No Centimes, black (131E-C1) No Centimes, yellow (131E-Cl) William and Walter Tell (Fig. 32) essayist not known. No Franc (35) The Tell Chapel (Fig. 33) essayist not known. Typographed, large die-impression; white, verticallaid paper. No Centimes, deep orange-vermilion (133E-B1) Wildschut Essay probably designed by H. Wildschut. (a) Preliminary steps No Preliminary sketch (Fig. 34) pencil on thin porous paper (129E-D1) No Preliminary, sketch (Fig. 35) pencil on thin porous paper (129E-E1) No Preliminary sketch (Fig. 36) pencil on thin porous paper (129E-F1) No Final Model (Fig. 37) ; pencil (vignette inked) on paper (129E-G1) No Impression from completed, intaglio die; cardboard ((139E-H1) (b) Plate impressions (large design); white, well calendered paper. No Centimes, red (139E-H5) No Centimes, blue (139E-H5) No Centimes, gray (1:39E-H5) No Centimes, red-bronze (139E-H5) No Centimes, green-bronze (139E-H5) (c) Impressions front a single cliche (small design) ; white, well calendered paper. No Centimes, blue (139E-H1) No Centimes, red (139E-H1) No Centimes, gray (139E-H1) Additional colors in plate impressions probably exist. With the possible exception of the Tell Chapel essay, none of the designs discussed in this section progressed beyond the essay stage. AUTHOR S NOTE: Documentation of peculiar interest to the essay-proof student concerning the regular postal-adhesive issues subsequent to those we have discussed, does not appear to be available; nor, apparently, are essays and proofs of such issues in private ownership. In view of these circumstances, the author believes it to be in the interest of our readers to defer temporarily a discussion of such issues. The nest instalment of this monograph therefore, will begin the treatment of Postal Adhesives Special. (To be continued.) 47

DEFINITIONS OF TERMS

DEFINITIONS OF TERMS A number of specialized terms are used in contracts for printing and/or publishing projects and in documentation of editions at Tamarind Institute. Whenever used, these terms are defined