Page 259 - Livre Beau Rivage Palace

having worked in Geneva and previously won a silver medal at 1. INSA, 1850-1920, Société d’Histoire de l’Art en Suisse, Berne, 1990.
the Hamburg International Exhibition in 1889. He very quickly 2. Dave Lüthi, Le grand hôtel et hôtel des Alpes, Territet. Rapport historique et architectural,
Service des Monuments historiques de l’État de Vaud, Lausanne, 1996.

received a large number of orders, both public and private, across 3. Cathedral-type glass is rolled and not blown and often has a definite texture; it is
translucent but not transparent. At the Beau-Rivage Palace this glass softens the visual
impact of the dome roof structures.
the whole of French-speaking Switzerland (particularly in 4. Our thanks go to the Vitrocentre de Romont who were kind enough to supply digitised
Lausanne, the Riviera, Le Locle and La Chaux-de-Fonds) and images of the detailed views produced by Pierre-Frank Michel in the 1970s.
5. See Catherine Schmutz’s contribution in this book, p. 245.
9
even further afield. Studying his stained glass reveals a very high 6. The German origin of both Otto Haberer and Eduard Diekmann may have played a part in
the artists’ collaboration. After all, Haberer could very easily have called on the studio
calibre of workmanship using glass of a quality unequalled by his of Pierre Chiara who was commissioned to produce all the glazing work for the hotel by
competitors. Even though the board of directors was meticulous in the architect Bezencenet in June 1907 (bevelled glass for the doors of the dining room,
the lounge, the corridors, stained glass for the old stairwell and probably also the
managing its expenses, its aim was to commission the very best for bedroom window panes), offering ‘very attractive prices and the best guarantees’, minutes
of the board of directors’ meeting, 3 June 1907.
its new establishment, and so it is not surprising that, in agreement 7. Stefanie Wettstein, Ornament und Farbe, Zur Geschichte der Dekorationsmalerei in
Sakralräumen der Schweiz um 1890, Niggli AG, Switzerland/Liechtenstein, 1996;

with the architects, the renowned Diekmann workshop was called Schweizerisches Künstler-Lexikon, Vol. 2, Verlag Von Huber, Frauenfeld, 1908; Hans Vollmer,
Allgemeines Lexikon der bildenden Künstler des XX. Jahrhunderts, vol. 6, Seemann Verlag,
upon to execute the large glass roof of the Beau-Rivage Palace. Leipzig, 1978; Dictionnaire biographique de l’art Suisse, vol. 1, Verlag NZZ, Zurich, 1998;
E. Benezit, Dictionnaire des peintres, sculpteurs, dessinateurs et graveurs, vol. 6, Gründ,
1999; Paul Bissegger, Notre-Dame de Vevey, Guides des Monuments Suisses 357, Société
d’Histoire de l’Art, Bern, 1984; Daniel De Raemy, Patrick Auderset, Histoire d’Yverdon, De
la Révolution vaudoise à nos jours, vol. 3, Editeur Schaer, Yverdon-Les-Bains, 1999.
8. Nothing is known about his career and his work in the current state of research.
9. Pierre-Frank Michel, Jugendstilglasmalerei in der Schweiz, Paul Haupt Verlag, Bern, 1986;
Catherine Schmutz and Fabienne Hoffmann, ‘Lausanne in vitraux’, in Journal de la
construction 3, 15 March 1999; Group publication, Escaliers, Décors et architecture des
cages d’escalier des immeubles de Suisse romande, 1890-1915, PPUR, Lausanne, 2006;
Fabienne Hoffmann, ‘Les vitraux Art nouveau de La Chaux-de-Fonds: l’étude d’un patrimoine
domestique’, in Musée neuchâtelois 1-2, 2006, pp. 43-72.

Fig. 3
Overall view of the glass dome produced between 1907 and 1908
in the workshops of the master glazier Eduard Diekmann.

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