- Läublin II., Hans Jacob [Jakob]
- Murer, Josias
- Ammann, Johann Conrad
- Ammann, Hans Heinrich
- Ammann, Christoph
- Amsler, Richard
- Asper, Hans
- Beham, Bartel
- Bluntschli, Niklaus
- Bosshard und Sohn, -
- Brun, Lienhard
- Cranach der Ältere, Lucas
- Erhart, Gregor
- Eriskirch, Meister von
- Erlinger, Georg
- Fischart, Johann
- Frischlin, Nicodemus
- Hans Conrad, Flach
- Holbein, Ambrosius
- Holtzwart, Matthäus
- Howes, John
- Hurter, Johann Heinrich
- Häfelin, Emil
- Hünerwadel, Jérôme
- Kübler, Werner der Jüngere
- Lang, Hieronymus der Ältere
- Lang, Hans Caspar der Ältere
- Lang, Daniel
- Lindtmayer, Felix der Jüngere
- Lindtmayer, Daniel der Jüngere
- Meyer, Conrad
- Moser, Andreas
- Müller, Theobald
- Oschwald, Hans Georg
- Ott, Hans Georg I.
- Panvinio, Onofrio
- Peyer, Hans
- Peyer, Johann Ludwig
- Peyer, Johann Jakob
- Peyer, Johann Friedrich
- Pfau, Hans Heinrich III.
- Pröll, Thomas
- Reusner, Nikolaus
- Schnetzler, Johann Ulrich
- Schärer, Johann Jacob
- Seiler, Dietegen
- Speissegger, Hans Heinrich
- Spleiss, Hans Martin
- Stalder, Ulrich
- Stimmer, Tobias
- Stimmer, Gideon
- Stimmer, Abel
- Strigel, Bernhard
- Stüdlin, Hans Caspar
- Ulmer, Johann Conrad
- Ulmer, Hans Ulrich
- Umkreis von Stimmer, Tobias
- Unbekannt
- Veith, Johann Martin
- Wüscher, Hans Adam I.
- de Savoye, Daniel
The PTSS collection
This website lists the works of art and objects of the Peyersche Tobias Stimmer-Stiftung (PTSS) of Schaffhausen. Most of the objects listed are on permanent loan to the Museum zu Allerheiligen or the Schaffhausen City Library.
Tobias Stimmer
Four of Tobias Stimmer’s ten siblings were independent artists: Abel (1542–1606) painter and etcher, Gideon (1545–1578) painter and designer for glass painting, Hans Christoffel (1549–1578) formschneider (english = letter-cutter or Printmaker?) and Josias (1544–after 1574) painter . Tobias is the most important of them and one of the outstanding representatives of Mannerism in southern Germany. Trained probably with the Zurich painter Hans Asper. From 1568, illustrations commissioned by Basel and Strasbourg publishers, in the same year facade paintings on the «zum Ritter» house in Schaffhausen (for Hans von Waldkirch). 1570 in Strassburg, where he also illustrated for Johann Fischart and Bernhard Jobin on a large scale. In 1576 the Basel publisher Thomas Guarin published a Bible illustrated by Stimmer. Commissioned by the mathematician and astronomer Conrad Dasypodius, Tobias Stimmer designed the case of the astronomical clock in Strasbourg Cathedral between 1571 and 1574, for which he also designed the figures. From 1576 to 1578, Stimmer painted thirteen allegorical figures on a hall ceiling in the New Castle in Baden-Baden for Margrave Philipp II, as well as various ancestor portraits.
Nativity
This sheet is one of around a hundred surviving drawings by Stimmer. It testifies to his artistic mastery in dealing freely with a traditional subject. The rather perky depiction of the naked baby Jesus is original. This is touchingly human and biblical at the same time: The Son of God who became man is made real.
Provenance
- 1999 – heute: Peyersche Tobias Stimmer-Stiftung, Schaffhausen
- 1999: Sotheby Parke Bernet INC., New York
- 1981: Sotheby's, London
- nach 1940: Tobias Christ (1888 – 1946), Basel
- 1940: Kunsthandel Leipzig
- unbekannt – vor 1936: Prinz Argoutinsky-Dolgoroukoff, Paris
Exhibitions
- 10.05.2019 – 06.10.2019: Kunst aus Trümmern. Die Kulturspenden nach der Bombardierung Schaffhausens 1944, Museum zu Allerheiligen, Schaffhausen
- 21.06.2012 – 06.01.2013: Hodler, Dix, Valloton - 25 Jahre Sturzenegger-Stiftung, Museum zu Allerheiligen, Schaffhausen
- 23.09.1984 – 09.12.1984: Spätrenaissance am Oberrhein. Tobias Stimmer 1539-1584, Kunstmuseum, Basel
- 12.05.1926 – 27.06.1926: Tobias Stimmer von Schaffhausen 1539 – 1584, Ausstellungsräume des Kunstvereins Schaffhausens (Konvikt)
Literature
- Schweizerisches Institut für Kunstwissenschaft (Hg.): Meisterwerke und Kleinode. Sammlung der Peyerschen Tobias Stimmer-Stiftung, Zürich: Scheidegger & Spiess, 2010 (Kataloge Schweizer Museen und Sammlungen 20), S. 120.
- Ruh, Max: Tobias Stimmers Heilige Familie, in: Schaffhauser Mappe. Magazin, 2006, Nr. 4, S. 16f.
- Stegmann, Markus: Alte Meister neu präsentiert, in: Schaffhauser Nachrichten, 21.02.2003, S. 21.
- Grütter, Tina: Neuerwerbungen 1999. Kunstabteilung des Museums zu Allerheiligen, in: Schaffhauser Mappe, 2000, S. 33f.
- von Roda, Hortensia: Ein Stimmer fürs Museum, in: Schaffhauser Nachrichten, 02.02.1999.
- Sotheby's, New York: Old Master Drawings. Auktionsktalog, 27.01.1999, Nr. 18.
- Kunstmuseum Basel (Hg.): Tobias Stimmer 1539-1584. Spätrenaissance am Oberrhein, Basel: Flügel Verlag, 1984 (Katalog zur Ausstellung des Kunstmuseum Basel, 23.09. – 09.12.1984), S. 321, Nr. 190.
- Sotheby's, London: Highly Important Old Master Drawings from the Collection of Tobias Christ of Basel. Auktionskatalog, 09.04.1981, Nr. 11.
- Bendel, Max: Tobias Stimmer. Leben und Werke, Zürich, Berlin: Atlantis Verlag, 1940, S. 33, 271, Nr. 31.
- Thöne, Friedrich: Tobias Stimmer. Handzeichnungen. Mit einem Überblick über sein Leben und sein gesamtes Schaffen, Freiburg im Breisgau: Urban, 1936, Nr. 92 und 339.
- Ausstellung Tobias Stimmer in Schaffhausen, in: Neue Zürcher Zeitung, 01.06.1926, Bl. 1.
Devotional picture of the Funk Family
Bernhard Strigel (about 1460–1528), um 1513 Oil and tempera on Oak panel,Bernhard Strigel, son of the sculptor Ivo Strigel, was first mentioned in the Memmingen tax book in 1505. He was the principal painter for Emperor Maximilian I, of whom he painted several portraits, including the only one in his coronation regalia. In 1518 Strigel was elected master of the Mercer's' guild and the Memmingen council, where he also served as envoy for legal affairs. One of his main works is the family altar of St. Stephen in Mindelheim, donated in 1505 by the mercenary leader Ulrich Frundsberg and his wife Barbara Rechberg.
Judgement of Paris
Lucas Cranach the elder (about 1553), workshop about 1525, um 1525 Oil and tempera on woodPortrait of a bearded man
Lucas Cranach the elder (about 1472–1553), 1527 Oil and tempera on Beech panelWorks by Lucas Cranach the Elder are among the important acquisitions made by the Stimmer Foundation. The Wittenberg painter ran a successful workshop that produced numerous altar paintings, religious and mythological motifs in addition to portraits. The intimate portrait of the unknown bearded man was probably intended for private use.
Portrait of Bürgermeister Alexander Peyer
Hans Asper, 1554 Oil and tempera on Limewood panelThe Stimmer Stiftung acquired the representative portrait of its well known ancestor back in 1950. The Burgermeister had himself portrayed by the Zurich painter in 1554. On the sheet of paper in Peyer's hand, Asper left a unique personal dedication to his "dear and good friend".
Portrait of a young man
Ambrosius Holbein (about 1494–about 1519), um 1519 Oil on woodAmbrosius Holbein, brother of Hans Holbein the Younger (1497/98–1543), worked with the Schaffhausen painter Thomas Schmid (around 1490–1550/60) on the decoration of the main Hall of the St George monastery in Stein am Rhein during his journeymanship. The small circular picture is one of the very few paintings attributed to the Basel book illustrator, who died young.
Virgin and Child with grapes
Lucas Cranach the elder (about 1472–1553), um 1535-40 Oil on European Beech panelCranach's Madonna of the Grapes shows Mary with her son Jesus eating from a bunch of grapes. The motif anticipates Christ's passion. By dying on the cross, he forgave everyone their sins. The memory of the blood that was shed lives on in the celebration of the Eucharist or 'Lord's Supper' during which the faithful take a sip of wine.
Lucas Cranach repeated such motifs again and again in his successful artist workshop. This enabled him to serve a wide variety of customers. The Schaffhausen version was probably intended as a devotional picture for a private setting. The winged snake, the certificate of authenticity from the Cranach workshop, proves its originality.
The Madonna of the Grapes by Lucas Cranach the elder has been in the Museum zu Allerheiligen since 1953 on permanent loan from the Peyer'sche Tobias Stimmer Foundation.
Portrait of Duke Wilhelm IV. of Bavaria
Barthel Beham (um 1502–1540), um 1533 Tempera on wood panelPortrait of Maria Jacobaea, wife of Duke Wilhelm IV. of Bavaria
Barthel Beham (about 1502–1540), 1534 Tempera on wood panelPortrait of a boy from the Peyer family
Johann Ulrich Schnetzler (1704–1763), 1746 Oil on canvasPortrait of David Peyer
Daniel Lindtmayer the younger (1552–1603/1607), attributed 1588, 1588 Tempera and oil on wood panelThe portrait of the merchant and judge David Peyer is the only one of five permanent loans from the Peyer Legate that survived the bombing of Schaffhausen on April 1, 1944, badly damaged. It was extensively restored in 1948 and 1978 and in some cases heavily retouched, which is particularly evident in the different appearance of the paint on the face.
Portrait of Hans Ludwig Peyer-Seiler (1645 – 1741)
Dietegen Seiler (1693 – 1774), 1727 Oil on canvasThe painting was restored in 1981 by Hans Harder, Schaffhausen.
Portrait of Judith Peyer (1593-1659)
Unbekannt, 1648 Oil on canvasNativity
Unknown, 2. Hälfte 15. Jahrhundert Oil on woodThe painting was restored 1987-1988
Aeneas and Anchises fleeing from Troy (copy after Federico Barocci)
Johann Martin Veith (1650–1717), Anfang 18. Jh. Oil on canvasPortrait of Dr. med. Hermann Peyer
Richard Emil Amsler (1859–1934), 1915 Oil on canvasPortrait of Johann Jakob Maurer
Unknown/ Jacob Maurer (1737–1780), earlier attribution, um 1770 Oil on woodPortrait of Hans Kaspar Peyer
Unknown, um 1640 Oil on canvasPortrait of Johann Bernhard Peyer at age 6 (1847-1933)
Jérôme Hünerwadel (1829–1859), 1853/54 Oil on canvasHans Friedrich Peyer-Im Thurn, Obherr zur mittleren Fels, with his family
Conrad Meyer (1618–1689), 1653 Oil on canvasPortrait of Heinrich Peyer-von Schmid (1529 – 1574)
Unknown, nach 1574 Oil on canvasPainting restored by Barbara Bührer, Neuhausen in 2009
Portrait of Johann Jakob Stokar (1615 – 1681) at the age of 65
Unknown, nach 1681 Oil on canvasPainting restored by Barbara Bührer, Neuhausen in 2009
Portrait of David Peyer-Ziegler (1622 – 1691) at the age of 65
Daniel de Savoye (1654 – 1716) ascribed to, 1686 Oil on canvasThis painting is the pendant to the portrait of Anna Katharina Peyer-Ziegler (1628-1690)
Portrait of Anna Katharina Peyer-Ziegler (1628 – 1690)
Daniel de Savoye (1654 – 1716), ascribed to, 1686 Oil on canvasThis portarit is a pendant to the painting of David Peyer-Ziegler (1622-91) at the age of 65
Portrait of Dr. of law Hans Conrad Peyer (1569 – 1623)
Unknown, um 1620 Oil on canvasThis painting was restored in 1955 by Hans Harder, Schaffhausen
Junker
Emil Häfelin (1921–2001), 1988 - 1989 PencilAtavus
Emil Häfelin (1921–2001), 1986 - 1990 WatercolourSuvata
Emil Häfelin (1921–2001), 1985 - 1992 WatercolourBulgarian ('dry')
Design for the centre field of a design with Mucius Scaevola
Werner Kübler the younger (1582–1621), 1606 Ink and grey brown wash, washedDesign sketch with unknown coat of arms and the beheading of John the Baptist
Werner Kübler the younger (1582–1621), 1609 Pen and ink, grey and brown washedBattle scene
Werner Kübler the younger, 1607 Black wash, brown washedDesign sketch with the farewell of the Prodigal Son
Werner Kübler the younger (1582–1621), 1604 Pen and ink, grey washedSketch for the coat of arms of Eitelfriedrich, Graf zu Lupfen und Landgraf zu Stühlingen
Daniel Lang (1543–after 1602) (?), 1567 Black ink washDesign sketch with the coats of arms for Heinrich Peyer and Marina Schmidin
Daniel Lang (1543–after1602), 1571 Pencil, Pen and inkDesign sketch with coats of arms of Heinrich Peyer mit den Wecken (1529-1574) und Marina Schmid
Daniel Lang (1543–after 1602) (?), 1568 Pencil, Pen and inkSaturn between two horses and riders
Hans Caspar Lang the elder (1571–1645), 1609 Ink and red brushDesign sketch for Hans Peyer mit den Wecken (1450-1532/33), Bürgermeister der Stadt Schaffhausen
Hans Caspar Lang the elder (1571–1645), attributed to, 1606 Pen and ink, Red ochre highlightsDesign sketch for coats of arms (Samuel?) Peyer mit den Wecken and (Barbara?) Ziegler
Hans Caspar Lang the elder (1571–1645), attributed to, um 1600 – 1610 Pen and ink, Red ochre highlightsSketch for coats of arms of Michel Bäldi (Beldi) and Anna Peyer mit den Wecken (born 1565), with personifications of Peace and Victory
Hans Caspar Lang the elder (1571–1645), 1600 Ink wash and red ochre on paperDesign sketch for coats of arms of Peyer mit den Wecken with personifications of the four seasons
Hans Caspar Lang d.Ä. (1571–1645), attributed to, um 1600 – 1610 Pen and inkDesign sketch for a roundel containing coats of arms for Peyer mit den Wecken and Peyer im Hof
Hans Caspar Lang the elder. (1571–1645), attributed to, um 1610 – 1620 Pencil, Ink wash on paperSketch for a roundel with the arms of Tobias Peyer (1560 - 1620) and Ursula Zollikofer (d. 1637) with the personifications of Glory and Justice
Hans Caspar Lang the elder (1571–1645), 1595 Ink wash and red ochre on paperDesign sketch for coats of arms of Peyer mit den Wecken and Peyer im Hof with personifications of Charity and Patience
Hans Caspar Lang the elder (1571–1645), 1602 Black ink washDesign sketch framing an empty coat of arms
Hans Caspar Lang the elder (1571–1645), 1597 Black ink wash, washedDesign sketch with coats of arms of Jörg Peyer and Ursula Peyer Im Hof
Hans Caspar Lang the elder (1571–1645), ascribed to, 1613 Pencil, Black and red penWork in the vineyard
Hans Caspar Lang the elder (1571–1645), 1595 Pen and inkDrapers shop
Hans Caspar Lang the elder (1571–1645), 1595 Pen and inkDesign sketch to surround the coats of arms of Matthäus Zollikofer and Judith Peyer, St. Gallen
Hieronymus Lang the elder (about 1520–1582), ascribed, 1570 Black ink wash, Ink wash on paperDesign sketch of Joseph and Potiphar's wife
Hieronymus Lang the elder (about 1520–1582), ascribed, um 1560 – 1570 Black ink wash, PaperDesign sketch for coat of arms of Simon von Breitenlandenburg / provost of Clingnoun (Klingnau)
Hieronymus Lang the elder (um 1520–1582), circle of, 1575 Ink wash on paperSketch for coat of arms of Hieronymus Pappus the elder of Lindau
Hieronymus Lang the elder (about 1520–1582), workshop, 1554 Ink wash on paperSketch for coats of arms of Hans Wildeisen and Heinrich Öchsli von Schaffhausen
Hieronymus Lang the elder (about 1520–1582), workshop, 1550 – 1560 Black ink washSketch for coats of arms of Jakob Gries and Martin Schnider (Schneider)
Hieronymus Lang the elder (about 1520–1582), workshop, 1560 – 1575 Pencil, Black and brown washesSketch for coat of arms of Georg Ehinger von Ulm
Hieronymus Lang the elder (about 1520–1582), workshop, 1554 Black ink washDesign sketch for commemorative glass to an unknown pair of donors
Hieronymus Lang the elder (about 1520–1582), workshop about 1564, um 1564 Black ink washSketch for coats of arms of Johann Frank von Breisach and Benedikta Botzhenn
Hieronymus Lang the elder (about 1520–1582), about 1550-60, ascribed to, um 1550 – 1560 Black ink washDesign sketch for coats of arms of Heinrich Peyer mit den Wecken (1529 – 1574) and Marina Schmid
Hieronymus Lang the elder (about 1520–1582), ascribed to, um 1568 Pen and inkDesign sketch for a figure of Charity
Daniel Lindtmayer the younger (1552–1603/1607) about 1583, um 1583 Pen drawingDesign for a roundel of the Judgement of Solomon with the coats of arms of Zacharias Schmid and Ursula Stierlin
Daniel Lindtmayer the younger (1552–1603/1607), 1582 Black ink and grey wash, washedDesign sketch depicting the banquet of Queen Esther
Daniel Lindtmayer the younger (1552–1603/1607), 1588 Pen and ink, PaperDesign for wall frescoes at the house „Zun drei Ständen“ (Herrenacker 10, "Peyerburg")
Daniel Lindtmayer the younger (1552–1603/1607) 1587, 1587 Pen and ink, PaperDesign sketch for Johann Theobald Wehrli (1558-1598) Abt von Kloster Rheinau, with SS. Fintan (Findanus) and Benedikt
Daniel Lindtmayer the younger (1552–1603/1607), 1580er Jahre Pen drawing, Paper, washedSketch for coats of arms of von Waldkirch and von Roggwil
Gideon Stimmer (1545–1581/1582), attributed to/ Hans Kaspar Lang the elder (1571–1645), earlier attribution, um 1570 Black ink and brown wash, washedNativity
Tobias Stimmer (1539–1584) 1565, 1565 Ink wash on paperThis sheet is one of around a hundred surviving drawings by Stimmer. It testifies to his artistic mastery in dealing freely with a traditional subject. The rather perky depiction of the naked baby Jesus is original. This is touchingly human and biblical at the same time: The Son of God who became man is made real.
Circular design sketch depicting the Nativity and four coats of arms (Buggin[?], Irmensee, Mörikofer and unidentified)
Tobias Stimmer (1539–1584), um 1570 Ink wash on paperSelf-portrait
Tobias Stimmer (1539–1584), um 1563 Chalk, Ink and watercolour on paperIn 1991, after years of negotiation, the Stimmer Stiftung managed a coup with the purchase of this small watercolour drawing. Thus, was the Stiftung able to acquire one of the rare autograph works by Tobias Stimmer (which was also a self portrait). The self-confident expression of the young artist is unparalleled at a time when the individual and self-portraiture were becoming increasingly important.
St Paul from a series of the Apostles
Tobias Stimmer (1539–1584), 1578 Pen and brown ink on paperFragment of a design sketch with the transfiguration of Christ
Tobias Stimmer (1539–1584), circle, um 1565 Ink wash on paperDesign sketch for a coat of arms (incomplete) for the Schaffhausen musketeers
Unknown, after Felix Lindtmayer the younger (about 1523/1524–1574), um 1573 Black ink and grey washDesign sketch with an angel with a sword "Psalm XXIII" and four angels blowing trombones, one with the Peyer coat of arms
Unknown, 1. Hälfte 17. Jahrhundert Pen and inkDesign sketch with the coats of arms for Im Thurn-and Peyer-Peyer mit den Wecken
Unknown (German), 1600 - 1650 Pencil, Ink wash on paperDesign sketch with arms of Oschwald. Peyer mit den Wecken, Ringk v. Wildenberg, Peyer im Hof and two others
Unknown, 1. Hälfte 19. Jahrhundert Pencil, Ink wash and red ochre on paperStandard bearer of Schaffhausen
Unknown, 1. Hälfte 17. Jahrhundert Black ink washD. Johannes Ammannus (father of the artist) "Ecclesiae Scaphusience Pastor Vigilantis"
Johann Conrad Ammann (1669–1724) 1751, vor 1751 Paper, EtchingRevd. Johann Georg Schalch (1609-1686), Schaffhausen, at age 68
Johann Jakob Peyer, artist/ Philipp Kilian (1628–1693), engraver, 1677 Paper, EtchingPastor Johannes Kirchhofer of Schaffhausen
Johann Jakob Schärer (1667–1736), um 1719 Paper, EtchingPortrait of Johann Ludwig Peyer
Dietegen Seiler (1693–1774), after Johann Georg Seiler (1663–1740), 1718 Paper, EtchingJ Rodolf Schmid (1590-1667). Baron de Schwarzhorn, Ambassador de L'Empereur à la Porte Ottoman
Unknown, nach 1667 Paper, EtchingPieta
Master of Eriskirch c1420, um 1420 WoodenJohn the Baptist
Gregor Erhart, circle of, um 1500 Lime woodSt Roche
Unknown, um 1500 Wooden, assembledSt Sebastian
Unknown, um 1500 Wooden, assembledStole in 1996 from the Museum zu Allerheiligen Schaffhausen .
Visitation
Unknown (Konstanz ?) about 1520, um 1520 Lime wood, coloured, assembledIn the years after the war, the collection of late medieval sacred art was systematically enlarged. The Stimmer Stiftung also contributed to this with the purchase of important works.
This relief by a carver from Constance was acquired in 2012. It was probably once a part of a Marian altarpiece and shows the encounter between Mary, who is pregnant with Jesus, and her cousin Elisabeth, who is expecting John the Baptist.
Coat of arms of Johann Jakob Peyer mit den Wecken, city judge
Christoph Ammann (1646 – 1712), attributed Glass, paintedArmorial panel for the Bailiff's Court (Vogtgericht) judges
Hans Heinrich Ammann (1637 – 1669), attributed, 1669 Glass, paintedThis window comes from Haus zum Sittich, Schaffhausen. It is en suite with the windows representing the coats of arms of the City and Debtor's Courts judges at Schaffhausen. The leading is new.
Armorial panel for the City or Debtors' Court judges, Schaffhausen
Hans Heinrich Ammann (1637 – 1669), attributed, 1669 Glass, paintedThis window comes from Haus zum Sittich, Schaffhausen. It is en suite with the windows representing the coats of arms for the City and Debtor's Courts judges at Schaffhausen. The leading is new.
Glass panel for the brothers Hans and Heinrich Peyer mit den Wecken representing the parable of the blind and the lame.
Niklaus Bluntschli (before 1525–1605), attributed, 1555 Glass, paintedPanel with the coats of arms for Onofrius von Waldkirch and Margaret Peyer mit den Wecken, depicting the story of Christ and the adulteress
Niklaus Bluntschli (before 1525–1605), attributed, 1556 Glass, paintedArmorial panel for the Allerheiligen monastery with coat of arms of Provost Wilhelm Schupp
Lienhard Brun (1514-38), 1529 Glass, paintedThe stained glass panel depicting Saints Constans and Alexander was created for the new Allerheiligen abbey of theAllerheiligen Monastery. The panel once belonged to the Schaffhausen art patron Bernhard Keller (1789–1870) and passed to the Peyer family by marriage. Three other panels from the same series are on permanent display in room 116 of the Museum zu Allerheiligen.
Armorial panel representing the parable of the breaking of the sticks [Aesops fables]
Werner Kübler the younger (1582–1621), 1607 Glass, Pencil, painted, assembledRoundel with the coats of arms for Heinrich Peyer mit den Wecken (1529 – 1574) and Maria Schmid
Daniel Lang (1543–after 1602), draft (?), 1572 Glass, Pencil, painted, assembledRoundel with the coats of arms for Hans Jakob Peyer mit den Wecken and Dorothea Peyer im Hof
Daniel Lang (1543 – nach 1602), 1586 Glass, paintedRoundel with the coats of arms for Hans Friedrich Ifflinger von Graneck and Dorothea von Kaltenthal
Hans Caspar Lang the elder (1571 – 1645), 1601 Glass, paintedThe stained glass has a small replacement and new leading.
Roundel with the coats of arms for Franz Ziegler and Magdalena von Waldkirch
Hans Caspar Lang der Ältere (1571 – 1645), attributed, 1603 (?) Glass, paintedDas Glasgemälde hat einige Ergänzungen und eine neue Verbleiung.
Pictorial panel (allegorical) for the marriage of Alexander Peyer mit den Wecken (1562 – 1618) and Maria Oschwald
Hans Caspar Lang the elder (1571 – 1645), attributed, 1606 Glass, paintedThe panel has small replacements and new leading.
Roundel with the coats of arms for Hans Wilhelm von Fulach and Veronika von Reischach (d. 1613)
Hans Kaspar Lang the elder (1571–1645), workshop, 1610 Glass, paintedThe panel was originally the donation of Hans Wilhelm von Fulach (died 1614) and Veronika von Reischach gestiftet.
Armorial panel with the coat of arms for Bernhardin Peyer Im Hof II. (1527 – 1582)
Hieronymus Lang the elder (about 1520–1582), um 1570 Glass, paintedPanel of the Half-moon Madonna
Hieronymus Lang the elder (about 1520–1582), workshop, um 1560 – 1570 Glass, PencilArmorial panel for the Commune of Unterhallau
Felix Lindtmayer the younger (1524 – 1574), attributed, 1542 Glass, paintedThe panel probably comes from the meeting room in Oberhallau. In 1935 it was restored by Emil Gerster, Basel.
Armorial panel with the coats of arms for Galle Jäger and Felix Lindtmayer the younger
Felix Lindtmayer the younger (1524 – 1574), attributed, 1552 Glass, paintedThe panel probably comes from the meeting room at Jestetten.
Pictorial panel for the six (artist) journeymen
Felix Lindtmayer the younger (1524 – 1574), attributed, 1568 Glass, paintedThe panel has been re-leaded
Armorial panel for (Hans) Heinrich Irmensee (died. 1591)
Felix Lindtmayer the younger (about 1523/1524–1574), Workshop(?), 1571 Glass, paintedThe original donor of the panel was (Hans) Heinrich Irmensee (died. 1591).
Panel with the coats of arms for Franz Ziegler, Magdalena von Waldkirch and Maria Peyer mit den Wecken (1588 – 1664)
Josias Murer (1564 – 1630), 1616 Glass, paintedThe glass panel probably comes from the Oberdorf in Thayngen. It has a small replacement and new leading.
Roundel with the coats of arms for Hans Konrad Peyer im Hof (1597 – 1673) and Dorothea Peyer mit den Wecken (1607 – 1673)
Hans Martin Spleiss (1592 – 1671), attributed, 1635 Glass, paintedThe panel has some cracks
Roundel with the coats of arms for Joachim Peyer mit den Wecken (1609 – 1635) and Susanna Ziegler (died 1677)
Hans Martin Spleiss (1592 – 1671), attributed, 1632 Glass, paintedThe lower part has some cracks.
Roundel with the coats of arms for Georg Peyer mit den Wecken (1586 – 1648) and Ursula Peyer im Hof (1593 – 1665)
Hans Martin Spleiss (1592 – 1671), attributed, 1635 Glass, paintedWelcome panel from an unknown donor couple
Unknown, um 1550 Glass, paintedThe donor's inscription is missing at the bottom of the panel. In addition, the glass painting has two small replacements and new leading.
Welcome panel for Hans Hüsler (Hüster) and Frau
Unknown, 1561 Glass, paintedThe panel has new leading
Armorial panel with the coats of arms for Hans Konrad Peyer im Hof (1538 – 1600) and Margret Rordorf (died 1594)
Unknown, 1563 Glass, paintedThe panel has been releaded
Armorial panel for Schaffhausen
Unknown, 1567 Glass, paintedThe panel has new leading
Armorial panel for the Town of Diessenhofen
Unknown (Schaffhauser), 1571 Glass, paintedThe panel has replacements and new leading
Pictorial panel with the coats of arms for Martin Peyer mit den Wecken and Elisabeth Ziegler with the Judgement of Solomon
Unknown, 1573 Glass, paintedThe donors of the armorial panel were originally Elisabeth Ziegler (1523-1607) and Martin Peyer (1515-1582).
Roundel with the coats of arms of Hans Jakob Hünerwadel (died 1598) and Dorothea Schwarz with the resurrection of Christ
Unknown, 1587 Glass, paintedThe roundel was originally the donation of Hans Jakob Hünerwadel (d. 1598) and Dorothea Schwarz.
Panel with the coats of arms for Waldkirch and Peyer mit den Wecken
Unknown, um 1600 Glass, paintedThe upper part of the glass painting probably comes from another panel, the donor's inscription at the base of the panel is missing. In 1983 the object was restored and re-leaded by Fritz Dold, Zurich.
Roundel with the coats of arms for Oschwald and another unknown
Unknown, um 1600 Glass, paintedDas Glasgemälde ist mehrfach geflickt und hat eine neue Verbleiung.
Panel for the marriages of Hans Conrad Baldenhofer and Ursula Schalch and for Zacharias Billing and Maria Hermann depicting the Fall of Man
Unknown, 1603 Glass, paintedRoundel with the coats of arms for Dietegen Ringk von Wildenberg (1589 – 1618) and Magdalena Im Thurn
Unknown, 1611 Glass, paintedDas Glasgemälde hat zwei kleine Flickstücke und eine neue Verbleiung.
Roundel with coat of arms for Joachim Im Thurn (1545 – 1596)
Unknown; after Daniel Lang (1543–after 1602), um 1900 Glass, paintedThe donor of the panel was originally Joachim Im Thurn (1545–1596).
Roundel with coats of arms for Joachim Peyer mit den Wecken (1609 – 1635) and Susanna Ziegler (died 1677)
Unknown, um 1900 Glass, paintedVenus appears to Aeneas and Achates on their way to Carthage
John Howes (before 1770–after 1793), 1775 Enamel painting on Copper , Metal, gildedPortrait miniature of Carl Albrecht von Frisching (1734 – 1801)
Johann Heinrich Hurter (1734–1799), 1768 Copper enamel, Metal, gildedPortrait miniature of Angelika Kauffmann (1741 – 1807)
Johann Heinrich Hurter (1734–1799), 1779 Enamel painting on Copper , Metal, Copper alloy, gildedAmong the miniatures in the Stimmer Stiftung are two works by the Schaffhausen artist Johann Heinrich Hurter. From 1777 he rose to become one of the most important miniature painters of the 18th century in London. Hurter copied the portrait of the well-known painter from a painting by Sir Joshua Reynolds (1723–1792).
Portrait miniature of an unknown man with a long wig and jabot
Johann Friedrich Peyer (1697–1759), 1718 Metal, Sheet copper, paintedPortrait miniature of Dr. med. Johann Conrad Peyer (1653 – 1712)
Unknown / Johann Friedrich Peyer (1697–1759), ascribed, um 1700 Tortoiseshell, Metal, Brass, paintedPortrait miniature of Samuel Grynaeus
Abel Stimmer (1542–after 1606) (?), 1569 Metal, Copper, paintedAbel was one of four brothers of Tobias Stimmer and worked part-time in his workshop. The two painted an audience chamber in the palace of the Margrave of Baden-Baden. The attribution of the miniature was based on stylistic comparisons with a portrait of Elisabeth Peyer in the collection of the Kunstmuseum Basel.
Portrait miniature of Elisabeth Peyer, wife of Samuel Grynäus
Abel Stimmer (1542–nach 1606) (?), 1569 Metal, Copper, paintedAbel was one of four brothers of Tobias Stimmer and worked part-time in his workshop. The two painted an audience chamber in the palace of the Margrave of Baden-Baden. The attribution of the miniature was based on stylistic comparisons with a portrait of Elisabeth Peyer in the collection of the Kunstmuseum Basel.el.
Standing dish for Ferdinand Ludwig Peyer-Keller (1814 – 1894)
Bosshard and Son, 1886 Metal, Silver, gilded, engraved, embossedThe Bosshard workshop was in Luzern.
Spanish - covered dish with coat of arms for Peyer with Im Thurn
Hans Conrad Flach (1616–1682), ascribed, 1643 – 1682 (?) Bronze, cast'Snakeskin' beaker, otherwise called a 'Schwitzbecher'
Hans Jacob I. Läublin (about 1634–about 1692) or Hans Jakob II. Läublin (1664–1730), um 4. Viertel 17. Jahrhundert Metal, Silver, embossed, punched, engraved, gildedChalice of father Bernhard Mayr von Baldegg (1687 – 1756)
Hans Jakob II. Läublin (1664–1730), 1711 oder 1727 Silver, gildedGlockenkanne (Swiss Bell Jug)
Andreas Moser (1768–1812), 1790 / 1812 Metal, Tin, cast, engravedSilver beaker (Guild beaker)
Hans Georg Oschwald (1667–1745), 1695 Metal, Silver, gildedBox
Hans Georg I. (zum Otter) Ott (1667–1745), 1694 / 1707 Metal, SilverIn the 18th century, silver boxes were part of elegant toilet sets and were used, among other things, as containers for powder. This piece was purchased for the museum in 1973 as a testament to Schaffhausen's artistic creativity. A pastoral scene with Venus and Adonis is depicted on the lid.
Sugar box
Hans Georg I. (zum Otter) Ott (1667–1745), 1707 / 1734 Metal, SilverPair of Candlesticks
Thomas Pröll (1678–1729), um 1720 Metal, Silver, embossedTeapot with cover and coat of arms of Wessenberg-Ampringen
Hans Heinrich Speissegger (1687–1759), 1734 – 1756 / 18. Jahrhundert / 1760 - 1765 Metal, Silver, fire-gildedBell from Schloss Haslach , donated by Hans Jakob Peyer (d. 1617)
Ulrich Stalder, 1595 Bronze, castDouble drinking cup ( called a 'Doppelscheue') with the coats of arms for Hans Ludwig Peyer - Zollikofer
Hans Ulrich Ulmer (1563–1624), 1608 Silver, gilded, embossedThe gilded silver vessel consists of two cups placed upside down, decorated with views of cities and animals. Double goblets were often made as indicative gifts for brides and grooms. The present example was a wedding present for Hans Ludwig Peyer (1565–1623) and Katharina Zollikofer (1608–1650).
Horseshoe with historical note about the Peyer family on cardboard insert
Hans Peyer (about 1410–1478), um 1450 Pen on card, Iron, forgedThe horseshoe of the founder of the Peyer dynasty, Hans Peyer the Smith, who died in 1478, is regarded as an important family memento . The card on the back carries on it comments about the history of the Peyer family and probably dates from the 17th or 18th century. The object was entrusted to the museum for safekeeping in 2003.
Waffle iron with the coat of arms for Baumann-Peyer
Unknown, 1576 - 1600 IronGorget or Hausse-col
Unknown, 17. Jahrhundert Metal, Copper, gildedThe embossing on the collar shows two winged masks looking down at a battle scene of mounted soldiers. A similar gorget can be found in the famous family portrait of Hans Friedrich Peyer in the Thurn, painted by Conrad Meyer in 1653. It is on display in room 104 of the Museum zu Allerheiligen's permanent exhibition.
Silver filigree pendant with the coat of arms for Ziegler - Peyer
Unknown, 2. Hälfte 17. Jahrhundert Metal, Silver, enamelledWide rimmed pewter dish with Peacock engraving
Hans Adam I. Wüscher (1653–1707), 1670 - 1707 Metal, Tin, engravedLinen embroidery with coat of arms for Peyer - Ziegler and a hunting scene
Unknown, 1572 White and blue thread on white linen, embroideredWool embroidery (Wall hanging) with coats of arms for Peyer - Peyer im Hof and scenes from the Tobias story
Unknown, nach 1593 / um 1612 Wool, Metal threads, Pearls, Human hair, embroideredLinen embroidery with coat of arms for Egg-wipfer
Unknown, 1607 White and brown thread on white linen, embroideredLinen embroidery with coat of arms for Peyer - Peyer im Hof and personification of the four seasons
Unknown, 1608 Coloured linen thread on beige linen, Bobbin lace, Silk thread, stitchedThe production and use of linen and wool embroidery was very popular in Schaffhausen in the 16th and 17th centuries.
The Stimmer Stiftung owns four such works from its own family collection. The wall hanging with the personifications of the four seasons comes from the household goods of Hans Conrad Peyer (1569-1623) and Elisabeth Peyer im Hof
Wool embroidery with tendrils of flowers and Waldkirch-Im Thurn coat of arms
Unknown, 1622 Coloured wools on dark brown wool cloth, embroideredWool embroidery with the coat of arms for Peyer - Peyer im Hof
Unknown, 1638 Coloured wools on dark brown wool cloth, embroideredLinen embroidery with stitched animals and coat of arms for Felix Ramsauer (born 1550) and Katharina Peyer (born 1546)
Unknown, 1592Wooden biscuit or cake mould: Coat of arms for Joachim Peyer and Susanna Ziegler
Hans Heinrich Ammann (1607–1699), 1632 Wooden, Leather, Pear wood, carvedBaked clay biscuit or clay mould
Hans Caspar Stüdlin (?), 1670 - 1700 Clay, impressedImpression from baking mould: for Joachim Peyer and Susanna Ziegler
Unknown, 18. Jahrhundert Clay, baked, glazedThis bakiing mould is an impression of the baking mould for Joachim Peyer und Susanna Ziegler in 1632.
Impression of the baking mould for Joachim Peyer and Susanna Ziegler
Unknown, 17. Jahrhundert (nach 1632) Clay, baked, glazedThis baking mould is an impression of the original for Joachim Peyer und Susanna Ziegler von 1632.
Impression of the baking mould for Joachim Peyer and Susanna Ziegler
Unknown, 1851 Clay, baked, paintedThis baking mould is an impression of the original for Joachim Peyer und Susanna Ziegler von 1632.
Wooden cake or biscuit mould of Adam and Eve
Unknown, um 1600 WoodenClay or wooden baking moulds were part of the inventory of wealthy households. They were used to form reliefs on pastry dough, marzipan or confectionery (tragacanth). The representations created by experienced shape cutters document the variety of motifs that were once used on baked goods. Dramatic stories like the Fall of Man were particularly popular.
Wine barrel marking with coat of arms for Peyer mit den Wecken - Forrer
Unknown, um 1707 Wooden, Leather, carvedWine barrel sign with coat of arms for Peyer mit den Wecken - Stokar
Unknown, 1732 Wooden, carvedCrossbow with bolt and winch
Unknown, 16. Jahrhundert Steel, Hemp, Wooden, Bone or ivoryMounted cannon with four wheeled caisson or 'limber'
Unknown, 1636 Bronze, Iron, WoodenPair of pistols
Unknown, um 1760 MetalBooklet: With astronomical and map observations
Georg Erlinger (um 1485–1542), 1516 Fibre, plant, Paper, printedPlan of the Rheinfalls and its surroundings
Johann Ludwig Peyer (1780–1842), 1826 Fibre, plant, Paper, paintedTin-glazed earthenware plate with the coat of arms for Kaspar Peyer zum Saffran
Hans Heinrich III. Pfau (1642–1719), 1688 Ceramic, painted, glazedBismuth chest for Anastasia Peyer (1604 – 1627)
Unknown c.1620+, 1620 Wooden, Leather, Beech wood, paintedProbably for cosmetic use eg eye shadow
Overdoor with the coats of arms of Schaffhausen justices
Unknown, 1621 Tempera on wood panelTin-glazed screw top bottle with the coat of arms for Peyer / Im Thurn
Unknown, 2. Hälfte 17. Jahrhundert Clay, Ceramic, glazed, bakedTin-glazed earthenware dish with the Peyer-Im Thurn coat of arms
Unknown, 1650 - 1700 Clay, Ceramic, baked, paintedFour-fold screen
Unkknown, vermutlich18. Jahrhundert Wooden, Leather, Fir, paintedChild's sleigh
Unknown, 2. Hälfte 19. Jahrhundert Wooden, Leather, paintedBIBLIA || SACRA || VETERIS || ET NOVI || Testamenti, || secundum editionem
Unknown, 1578Vollständiger Titel: || vulgatam. || BASILEAE, M.D.Lxxviii. || (EXCVDEBAT THOMAS GVARI/ || NVS ... ||)
Neue Künste= || liche Figuren Biblischer || Historien/ grüntlich von || Tobia Stimmer || gerissen:
Johann Fischart (about 1546/47 – 1590), 1576Full title: || Vnd zu Gotsf[oe]rchtiger || ergetzung and[ae]chtiger hertzen/ || mit artigen Reimen begriffen/ || durch J F. G. M. || Zu Basel bei Thoma Gwarin. || Anno. M. D. LXXVI. ||
Das Philosophisch Ehezuchtb[ue]chlin || oder || Die Vernunfft || gem[ae]se Naturgescheide || Ehezucht/ sampt der Kin= || derzucht.
Johann Fischart (um 1546/47 – 1590) 1576, 1591Full title: || Auß des ... || Griechischen Philosophi Plutarchi vernunfft gem[ae]sen || Ehegebotten vnd allerley andern ... || F[ue]rtrefflichen Authoren vnd || Scribntn/ von allerley Nationen zusamen gelesen/ verteutscht/ vñ ... || Gesatzen vnd Gleichnussen tractirt ... || mit beigthaner Missiff vnd Ehelicher schuldig= || keit erjnnernng Herrn Anthoni von || Gueuara. || Durch ... || Johann Fischarten genant Mentzer der Rechten || Doctorn seligen auß Griechischen vnd andern Sprachen || verteutscht/ vnd zusamen getragen. || Getruckt zu Strßburg/ bei Bernhart Jobin. || M. D. LXXXXI. ||
OPERVM POETICORVM || NICODEMI || FRISCHLINI POETAE. || ORATORIS ET PHILOSOPHI || pars scnica: in qua sunt,
Nicodemus Frischling (1547 – 1590) 1587, 1587Full title: || COMOEDIAE QVINQVE. || REBECCA, || SUSANNA, || HILDEGARDIS, || IVLIVSREDIVIVVS, || PRISCIANVS VAPVLANS. || TRAGOEDIAE DVAE. || VENUS, || DIDO. || Ex recentißima auctoris emendatione. || Excudebat Bernhardus Iobin. Anno 1587. ||
EMBLEMATUM [symbolic images] || Tyrociniae: Sive || PICTA POESIS LATI- || NOGERMANICA.
Matthäus Holzart (um 1530 – um 1580), 1581Full title: || Das ist. || Eingeblümete Zierwerck/ || oder Gem[ae]lpoesy. || Jnnhaltend || Allerhand GeheymnußLehren/ || durch Kunstf[ue]ndige Gem[ae]l angepracht/ || vnd Poetisch erkl[ae]ret. Jederm[ae]nniglichen/ || beydes zu Sittlicher Besserung des || Lebens/ vnd Künstlicher Ar= || beyt vorst[ae]ndig vnd ergetzlich. || Durch Mathiam Holtzwart. || Sampt eyner Vorred von Vrsprung/ Ge= || brauch vnd Nutz der Emblematen. || Nun erstmals inn Truck komen. || Zu Straßburg bei Bernhard Jobin. M.D.LXXXJ. ||
Eigentliche vnd gedenck= || würdige Contrafacturen oder anbildungen/ wol= || verdienter vnnd weitber[ue]mpter Kriegshelden/
Theobald Müller (Wirkungszeit 1568 – 1582), 1577Full title: auß des hochwirdigen || Bischoffs Pauli Jouij Elogijs oder Rhumschrifften gezogen/ sampt || deren jeder angehenckten summarischen Reimen ... || Durch || Theobaldum Müller von Marpurck. || Getruckt zu Basel/ bey Peter Perna. || M. D. LXXVII. || (Mense Martio. ||)
ACCVRATAE || EFFIGIES PONTIFICVM || MAXIMORVM, NVMERO XXVIII: AB || Anno Christi MCCCLXXVIII. ad ||
Onofrio Panvinio (1530 – 1568), 1573Full title: aetatem us[que] nostram praesidentium, || ad vivum ex Romano pro= || totypo expressae: || IISQVE SINGVLORVM || PONTIFICVM ELOGIA, EORVM || res gestas summatim comprehendentia, ab Onu- || phrio Panvinio Veronese Fratre Eremita || Augustiniano, adiuncta, Germa- || nice interpretata. || Eygenwissenliche || vnnd wolgedenckwürdige Con= || trafeytungen, ... der || R[oe]mischen B[ae]pst ... || Auch mit Summarischen jhres lebens || Rhumschrifften/ erstlich inn Latein/ nochmals || durch verdolmetschung J. Fischaert. G. M. Teutsch/ || beschriben ... || ... M.D.LXXiij. || (Getruckt zu Straßburg/ durch Bernhart Jobin. ||)
CONES || SIVE || Imagines viuae, lite- || ris Cl. Virorum, ITALIAE, || GRAECIAE, GERMANIAE, || GALLIAE, ANGLIAE, || VNGARIAE. ||
Nikolaus Reusen (1545 – 1602), 1589Full title: Ex Typis VALDKIRCHIA- || NIS in lucem pro- || ductae: || Cum ELOGIIS variis || NICOLAVM REVSNERVM || I.C. [et] P.C. || BASILEAE || Apud CONR. VALDKIRCH. || M D XIC. ||
GEODAISIA, || Das ist: || Von gewisser vñ || bew[ae]rther Feldmessung/ eyn || gr[ue]ndlicher bericht:
Johann Conrad Ulmer (1519 – 1600) 1580, 1580Full title: wie n[ae]mlich/ bey= || de/ aller Felder gr[oe]sse zu messen vnd abzurech= || nen: auch allerley erforderte pl[ae]tze/ von an= || dern Feldern/ inn gewissem Messe/ auß vnd abzuthey= || len/ oder auch an dieselbige anzumessen seie. || Durch Johann Conraten von Vlm/ Predi= || gern zu Schaffhausen am Rhein/ auffs neu || zugericht vnd demonstrirt. || ... || Zu Straßburg/ bei B. Jobin. 1580. ||