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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.

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Bildnis Herzog Wilhelm IV. von Bayern Detail view close
Barthel Beham (um 1502–1540), um 1533 Biography

Bartel Beham

One of the outstanding representatives of the generation of painters that followed Dürer. When he was banished from his hometown in 1525 because of his sympathy for the Reformation, he went to Munich and entered the service of Duke Wilhelm IV. The painter, who was also valued for his copper engravings, soon became the preferred portrait painter of the Munich patriciate. He died at the age of just 38 on a trip to Italy that he had taken to perfect his art.

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Portrait of Duke Wilhelm IV. of Bavaria

Tempera on wood panel, Bildmass: 44 x 32 cm Rahmenmass: 61.4 x 49.7 x 7.5 cm

Provenance

  • 1953 – heute: Peyersche Tobias Stimmer-Stiftung, Schaffhausen
  • vor 1905 – 1953: Gräflich Nostitzsche Gemälde-Galerie, Prag

Exhibitions

  • 01.10.2013 – 05.01.2014: Zwischenspiel I, Museum zu Allerheiligen, Schaffhausen
  • 21.06.2012 – 06.01.2013: Hodler, Dix, Valloton - 25 Jahre Sturzenegger-Stiftung, Museum zu Allerheiligen, Schaffhausen

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. 31, 100.
  • Löcher, Kurt: Barthel Beham. Ein Maler aus dem Dürerkreis, München, Berlin: Deutscher Kunstverlag, 1999, S. 169, Abb 145, Kat. 61.
  • Löcher, Kurt: Beham (Beheim; Peham), Barthel, in: Allgemeines Künstlerlexikon. Die Bildenden Künstler aller Zeiten und Völker, Band 8, München, Leipzig: K.G. Saur, 1994, S. 289.
  • Museum zu Allerheiligen (Hg.): Kunstabteilung. Katalog der Gemälde und Skulpturen, Schaffhausen: Museum zu Allerheiligen, 1989 (Kataloge Schweizer Museen und Sammlungen 13), S. 60, Nr. 20, S. 280. 
  • Lang, Paul / Rapp-Buri, Anna / Jezler, Peter: Die Peyersche Tobias Stimmer-Stiftung im Museum zu Allerheiligen, Schaffhausen: Schweizerisches Institut für Kunstwissenschaft, 1985 (Kataloge Schweizer Museen und Sammlungen 10), S. 12, Nr. 5.
  • Fudickar, Liselotte: Die Bildniskunst der Nürnberger Barthel Beham und Peter Gertner, Dissertation der Universität München, 1942, S. 34, Kat. 27.
  • Tietze, Hans et al. (Hg.): Beschreibender Katalog der Handzeichnungen in der Graphischen Sammlung Albertina. Band 4: Die Zeichnungen der deutschen Schulen bis zum Beginn des Klassizismus, Wien: Anton Schroll, 1933, S. 29.
  • Thieme, Ulrich / Becker, Felix (Hg.): Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, Band 3, Leipzig: Seemann, 1909, S. 192.
  • Bergner, Paul: Verzeichnis der Gräflich Nostitzschen Gemälde-Galerie zu Prag, Prag: Carl Bellmann, 1905, Nr. 17.
  • Pauli, Gustav: Barthel Beham in seiner künstlerischen Entwicklung, in: Mitteilungen der Gesellschaft für vervielfältigende Kunst, 1905, S. 44.
  • von Frimmel, Theodor: Gemälde-Sammlung Graf Erwein Nostitz in Prag, Wien: J. Löwy, 1905, Nr. 17.
  • von Seidlitz, Woldemar: Barthel Beham, in: Julius Meyer / Hermann Lücke / Hugo von Tschudi (Hg.): Allgemeines Künstler-Lexikon, Band 3, Leipzig: Wilhelm Engelmann, 1885, S. 314, Nr. 36.
  • Woltmann, Alfred / Woermann, Karl: Geschichte der Malerei, Band 2: Die Malerei der Renaissance, Leipzig: Seemann, 1882, S. 411.
  • Rosenberg, Adolf: Sebald und Barthel Beham. Zwei Maler der deutschen Renaissance, Leipzig: Seemann, 1875, S. 80, Nr. 39.
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Devotionsbild der Familie Funk

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.
Urteil des Paris

Judgement of Paris

Lucas Cranach the elder (about 1553), workshop about 1525, um 1525 Oil and tempera on wood
Bildnis eines bärtigen Mannes

Portrait of a bearded man

Lucas Cranach the elder (about 1472–1553), 1527 Oil and tempera on Beech panel

Works 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.
Bildnis Bürgermeister Alexander Peyer

Portrait of Bürgermeister Alexander Peyer

Hans Asper, 1554 Oil and tempera on Limewood panel

The 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".
Bildnis eines jüngeren Mannes

Portrait of a young man

Ambrosius Holbein (about 1494–about 1519), um 1519 Oil on wood

Ambrosius 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.
Maria mit Kind und Traube (Traubenmadonna) (Restauriert)

Virgin and Child with grapes

Lucas Cranach the elder (about 1472–1553), um 1535-40 Oil on European Beech panel

Cranach'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.
Bildnis Herzog Wilhelm IV. von Bayern

Portrait of Duke Wilhelm IV. of Bavaria

Barthel Beham (um 1502–1540), um 1533 Tempera on wood panel
Bildnis Maria Jacobaea, Gemahlin des Herzog Wilhelm IV. von Bayern

Portrait of Maria Jacobaea, wife of Duke Wilhelm IV. of Bavaria

Barthel Beham (about 1502–1540), 1534 Tempera on wood panel
Knabenbildnis aus der Familie Peyer

Portrait of a boy from the Peyer family

Johann Ulrich Schnetzler (1704–1763), 1746 Oil on canvas
Bildnis David Peyer

Portrait of David Peyer

Daniel Lindtmayer the younger (1552–1603/1607), attributed 1588, 1588 Tempera and oil on wood panel

The 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.
Bildnis Hans Ludwig Peyer-Seiler (1645 – 1741)

Portrait of Hans Ludwig Peyer-Seiler (1645 – 1741)

Dietegen Seiler (1693 – 1774), 1727 Oil on canvas

The painting was restored in 1981 by Hans Harder, Schaffhausen.
Bildnis Judith Peyer (1593-1659)

Portrait of Judith Peyer (1593-1659)

Unbekannt, 1648 Oil on canvas
Geburt Christi

Nativity

Unknown, 2. Hälfte 15. Jahrhundert Oil on wood

The painting was restored 1987-1988 
Aeneas und Anchises fliehen aus Troja (Kopie nach Federico Barocci)

Aeneas and Anchises fleeing from Troy (copy after Federico Barocci)

Johann Martin Veith (1650–1717), Anfang 18. Jh. Oil on canvas
Bildnis Dr. med. Hermann Peyer

Portrait of Dr. med. Hermann Peyer

Richard Emil Amsler (1859–1934), 1915 Oil on canvas
Bildnis Johann Jakob Maurer

Portrait of Johann Jakob Maurer

Unknown/ Jacob Maurer (1737–1780), earlier attribution, um 1770 Oil on wood
Bildnis Hans Kaspar Peyer

Portrait of Hans Kaspar Peyer

Unknown, um 1640 Oil on canvas
Bildnis des 6-jährigen Johann Bernhard Peyer

Portrait of Johann Bernhard Peyer at age 6 (1847-1933)

Jérôme Hünerwadel (1829–1859), 1853/54 Oil on canvas
Hans Friedrich Peyer-Im Thurn mit seiner Familie

Hans Friedrich Peyer-Im Thurn, Obherr zur mittleren Fels, with his family

Conrad Meyer (1618–1689), 1653 Oil on canvas
Bildnis Heinrich Peyer-von Schmid

Portrait of Heinrich Peyer-von Schmid (1529 – 1574)

Unknown, nach 1574 Oil on canvas

Painting restored by Barbara Bührer, Neuhausen in 2009
Bildnis Johann Jakob Stokar

Portrait of Johann Jakob Stokar (1615 – 1681) at the age of 65

Unknown, nach 1681 Oil on canvas

Painting restored by Barbara Bührer, Neuhausen  in 2009
Bildnis David Peyer-Ziegler

Portrait of David Peyer-Ziegler (1622 – 1691) at the age of 65

Daniel de Savoye (1654 – 1716) ascribed to, 1686 Oil on canvas

This painting is the pendant to the portrait of Anna Katharina Peyer-Ziegler (1628-1690)
Bildnis Anna Katharina Peyer-Ziegler

Portrait of Anna Katharina Peyer-Ziegler (1628 – 1690)

Daniel de Savoye (1654 – 1716), ascribed to, 1686 Oil on canvas

This portarit is a pendant to the painting of David Peyer-Ziegler (1622-91) at the age of 65
Bildnis Dr. iur. Hans Conrad Peyer

Portrait of Dr. of law Hans Conrad Peyer (1569 – 1623)

Unknown, um 1620 Oil on canvas

This painting was restored in 1955 by Hans Harder, Schaffhausen
Junker

Junker

Emil Häfelin (1921–2001), 1988 - 1989 Pencil
Atavus

Atavus

Emil Häfelin (1921–2001), 1986 - 1990 Watercolour
Suvata

Suvata

Emil Häfelin (1921–2001), 1985 - 1992 Watercolour

Bulgarian ('dry')
Entwurf für das Mittelfeld einer Scheibe mit Mucius Scaevola

Design for the centre field of a design with Mucius Scaevola

Werner Kübler the younger (1582–1621), 1606 Ink and grey brown wash, washed
Scheibenriss mit unbekanntem Wappen und der Enthauptung des Johannes des Täufers

Design 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 washed
Schlachtenszene

Battle scene

Werner Kübler the younger, 1607 Black wash, brown washed
Scheibenriss mit dem Abschied des verlorenen Sohnes

Design sketch with the farewell of the Prodigal Son

Werner Kübler the younger (1582–1621), 1604 Pen and ink, grey washed
Riss für Wappenscheibe Eitelfriedrich, Graf zu Lupfen und Landgraf zu Stühlingen

Sketch for the coat of arms of Eitelfriedrich, Graf zu Lupfen und Landgraf zu Stühlingen

Daniel Lang (1543–after 1602) (?), 1567 Black ink wash
Scheibenriss mit den Wappen der Allianz Heinrich Peyer und Marina Schmidin

Design sketch with the coats of arms for Heinrich Peyer and Marina Schmidin

Daniel Lang (1543–after1602), 1571 Pencil, Pen and ink
Scheibenriss mit den Wappen der Allianz Heinrich Peyer mit den Wecken (1529-1574) und Marina Schmid

Design 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 ink
Saturn zwischen zwei Pferden und ihren Reitern

Saturn between two horses and riders

Hans Caspar Lang the elder (1571–1645), 1609 Ink and red brush
Scheibenriss Hans Peyer mit den Wecken (1450-1532/33), Bürgermeister der Stadt Schaffhausen

Design 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 highlights
Scheibenriss für Allianzwappenscheibe (Samuel?) Peyer mit den Wecken und (Barbara?) Ziegler

Design 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 highlights
Riss für Allianzwappenscheibe Michel Bäldi (Beldi) und Anna Peyer mit den Wecken (geb.1565), mit Personifikationen Pax und Victoria

Sketch 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 paper
Scheibenriss für Wappenscheibe Peyer mit den Wecken mit Personifikationen der vier Jahreszeiten

Design 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 ink
Riss für runde Allianzwappenscheibe Peyer mit den Wecken und Peyer im Hof

Design 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 paper
Riss für runde Allianzwappenscheibe Tobias Peyer mit den Wecken (1560 - 1620) und Ursula Zollikofer (gest. 1637) mit der Personifikation der Gloria und der Justitia

Sketch 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 paper
Riss für Allianzwappenscheibe Peyer mit den Wecken und Peyer im Hof mit Personifikationen der Caritas und der Patientia

Design 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 wash
Scheibenriss mit leerem Wappenschild

Design sketch framing an empty coat of arms

Hans Caspar Lang the elder (1571–1645), 1597 Black ink wash, washed
Scheibenriss mit den Wappen der Allianz Jörg Peyer und Ursula Peyer Im Hof

Design 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 pen
Die Arbeiten im Weinberg

Work in the vineyard

Hans Caspar Lang the elder (1571–1645), 1595 Pen and ink
Tuchladen

Drapers shop

Hans Caspar Lang the elder (1571–1645), 1595 Pen and ink
Scheibenriss-Umrahmung mit Allianzwappen Matthäus Zollikofer und Judith Peyer, St. Gallen

Design 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 paper
Scheibenriss mit Joseph und Potiphars Weib

Design sketch of Joseph and Potiphar's wife

Hieronymus Lang the elder (about 1520–1582), ascribed, um 1560 – 1570 Black ink wash, Paper
Scheibenriss Simon von Breitenlandenburg / Propst zu Clingnoun (Klingnau)

Design 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 paper
Riss für Wappenscheibe Hieronymus Pappus d.Ä. von Lindau

Sketch for coat of arms of Hieronymus Pappus the elder of Lindau

Hieronymus Lang the elder (about 1520–1582), workshop, 1554 Ink wash on paper
Riss für Wappenscheibe Hans Wildeisen und Heinrich Öchsli von Schaffhausen

Sketch for coats of arms of Hans Wildeisen and Heinrich Öchsli von Schaffhausen

Hieronymus Lang the elder (about 1520–1582), workshop, 1550 – 1560 Black ink wash
Riss für Wappenscheibe Jakob Gries und Martin Schnider (Schneider)

Sketch 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 washes
Riss für Wappenscheibe Georg Ehinger von Ulm

Sketch for coat of arms of Georg Ehinger von Ulm

Hieronymus Lang the elder (about 1520–1582), workshop, 1554 Black ink wash
Riss für Willkommscheibe mit unbekanntem Stifterpaar

Design sketch for commemorative glass to an unknown pair of donors

Hieronymus Lang the elder (about 1520–1582), workshop about 1564, um 1564 Black ink wash
Riss für Allianzwappenscheibe Johann Frank von Breisach und Benedikta Botzhenn

Sketch 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 wash
Scheibenriss mit den Wappen der Allianz Peyer Schmid

Design 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 ink
Caritas (Scheibenriss-Fragment)

Design sketch for a figure of Charity

Daniel Lindtmayer the younger (1552–1603/1607) about 1583, um 1583 Pen drawing
Rundriss mit dem Urteil Salomos und den Wappen Zacharias Schmid und Ursula Stierlin

Design 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, washed
Scheibenriss mit Darstellung des Gastmahls der Königin Esther

Design sketch depicting the banquet of Queen Esther

Daniel Lindtmayer the younger (1552–1603/1607), 1588 Pen and ink, Paper
Entwurf für die Bemalung des Hauses „Zun drei Ständen“

Design for wall frescoes at the house „Zun drei Ständen“ (Herrenacker 10, "Peyerburg")

Daniel Lindtmayer the younger (1552–1603/1607) 1587, 1587 Pen and ink, Paper
Scheibenriss für Johann Theobald Wehrli

Design 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, washed
Riss für Allianzwappenscheibe von Waldkirch und von Roggwil

Sketch 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, washed
Geburt Christi

Nativity

Tobias Stimmer (1539–1584) 1565, 1565 Ink wash on paper

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.
Scheibenriss mit der Geburt Christi und vier Familienwappen

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 paper
Selbstbildnis

Self-portrait

Tobias Stimmer (1539–1584), um 1563 Chalk, Ink and watercolour on paper

In 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.
Der heilige Paulus aus einer Apostel-Serie

St Paul from a series of the Apostles

Tobias Stimmer (1539–1584), 1578 Pen and brown ink on paper
Fragment eines Scheibenrisses mit der Verklärung Christi

Fragment of a design sketch with the transfiguration of Christ

Tobias Stimmer (1539–1584), circle, um 1565 Ink wash on paper
Riss für eine Scheibe der Schaffhauser Büchsenschützen

Design 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 wash
Scheibenriss mit Engel mit Schwert "Psalm XXIII" und vier Posaune blasende Engel, einer mit Wappen Peyer

Design 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 ink
Scheibenrundriss mit Allianzwappen Im Thurn-und Peyer-Peyer mit den Wecken

Design sketch with the coats of arms for Im Thurn-and Peyer-Peyer mit den Wecken

Unknown (German), 1600 - 1650 Pencil, Ink wash on paper
Scheibenriss mit Wappen Oschwald. Peyer mit den Wecken, Ringk v. Wildenberg, Peyer im Hof und zwei weiteren Wappen

Design 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 paper
Bannerträger von Schaffhausen

Standard bearer of Schaffhausen

Unknown, 1. Hälfte 17. Jahrhundert Black ink wash
D. Johannes Ammannus (Vater des Künstlers) "Ecclesiae Scaphusience Pastor Vigilantis"

D. Johannes Ammannus (father of the artist) "Ecclesiae Scaphusience Pastor Vigilantis"

Johann Conrad Ammann (1669–1724) 1751, vor 1751 Paper, Etching
Antistes Johann Georg Schalch (1609-1686), Schaffhausen, im Alter von 68 Jahren

Revd. Johann Georg Schalch (1609-1686), Schaffhausen, at age 68

Johann Jakob Peyer, artist/ Philipp Kilian (1628–1693), engraver, 1677 Paper, Etching
Pfarrer Johannes Kirchhofer aus Schaffhausen

Pastor Johannes Kirchhofer of Schaffhausen

Johann Jakob Schärer (1667–1736), um 1719 Paper, Etching
Bildnis Johann Ludwig Peyer

Portrait of Johann Ludwig Peyer

Dietegen Seiler (1693–1774), after Johann Georg Seiler (1663–1740), 1718 Paper, Etching
J. Rodolf Schmid (1590–1667). Baron de Schwarzhorn, Ambassadeur de L'Empéreur à la Porte Ottoman

J Rodolf Schmid (1590-1667). Baron de Schwarzhorn, Ambassador de L'Empereur à la Porte Ottoman

Unknown, nach 1667 Paper, Etching
Vesperbild (Vorderseite)

Pieta

Master of Eriskirch c1420, um 1420 Wooden
Johannes der Täufer (Vorderseite)

John the Baptist

Gregor Erhart, circle of, um 1500 Lime wood
Heiliger Rochus (Vorderseite)

St Roche

Unknown, um 1500 Wooden, assembled
Heiliger Sebastian

St Sebastian

Unknown, um 1500 Wooden, assembled

Stole in 1996 from the Museum zu Allerheiligen Schaffhausen .
Visitatio (Vorderseite)

Visitation

Unknown (Konstanz ?) about 1520, um 1520 Lime wood, coloured, assembled

In 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.
Wappenscheibe Johann Jakob Peyer mit den Wecken

Coat of arms of Johann Jakob Peyer mit den Wecken, city judge

Christoph Ammann (1646 – 1712), attributed Glass, painted
Wappenscheibe des Vogtgerichts Schaffhausen

Armorial panel for the Bailiff's Court (Vogtgericht) judges

Hans Heinrich Ammann (1637 – 1669), attributed, 1669 Glass, painted

This 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.
Wappenscheibe des Stadt- oder Schuldgerichts Schaffhausen

Armorial panel for the City or Debtors' Court judges, Schaffhausen

Hans Heinrich Ammann (1637 – 1669), attributed, 1669 Glass, painted

This 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.
Glascheibe Gebrüder Hans und Heinrich Peyer mit den Wecken mit Darstellung des Gleichnisses mit dem Blinden und dem Lahmen

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, painted
Allianzwappenscheibe Onofrius von Waldkirch und Margaret Peyer mit den Wecken mit Darstellung der Geschichte mit Christus und der Ehebrecherin

Panel 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, painted
Wappenscheibe Kloster Allerheiligen mit Wappen von Propst Wilhelm Schupp

Armorial panel for the Allerheiligen monastery with coat of arms of Provost Wilhelm Schupp

Lienhard Brun (1514-38), 1529 Glass, painted

The 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.
Wappenscheibe Kaspar Keller mit der Parabel vom Stäbebrechen

Armorial panel representing the parable of the breaking of the sticks [Aesops fables]

Werner Kübler the younger (1582–1621), 1607 Glass, Pencil, painted, assembled

Roundel 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, assembled

Roundel with the coats of arms for Hans Jakob Peyer mit den Wecken and Dorothea Peyer im Hof

Daniel Lang (1543 – nach 1602), 1586 Glass, painted
Runde Allianzwappenscheibe Hans Friedrich Ifflinger von Graneck und Dorothea von Kaltenthal

Roundel with the coats of arms for Hans Friedrich Ifflinger von Graneck and Dorothea von Kaltenthal

Hans Caspar Lang the elder (1571 – 1645), 1601 Glass, painted

The stained glass has a small replacement and new leading.
Runde Allianzwappenscheibe Franz Ziegler und Magdalena von Waldkirch

Roundel with the coats of arms for Franz Ziegler and Magdalena von Waldkirch

Hans Caspar Lang der Ältere (1571 – 1645), attributed, 1603 (?) Glass, painted

Das Glasgemälde hat einige Ergänzungen und eine neue Verbleiung.
Bildscheibe Alexander Peyer mit den Wecken (1562 – 1618) und Maria Oschwald

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, painted

The panel has small replacements and new leading.
Allianzwappenscheibe Hans Wilhelm von Fulach und Veronika von Reischach (gest. 1613)

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, painted

The panel was originally the donation of Hans Wilhelm von Fulach (died 1614) and Veronika von Reischach gestiftet.
Wappenscheibe Bernhardin Peyer Im Hof II. (1527 – 1582)

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, painted
Glasgemälde Mondsichelmadonna

Panel of the Half-moon Madonna

Hieronymus Lang the elder (about 1520–1582), workshop, um 1560 – 1570 Glass, Pencil
Gemeindescheibe Unterhallau

Armorial panel for the Commune of Unterhallau

Felix Lindtmayer the younger (1524 – 1574), attributed, 1542 Glass, painted

The panel probably comes from the meeting room in Oberhallau. In 1935 it was restored by Emil Gerster, Basel.
Figurenscheibe Galle Jäger und Felix Lindtmayer der Jüngere

Armorial panel with the coats of arms for Galle Jäger and Felix Lindtmayer the younger

Felix Lindtmayer the younger (1524 – 1574), attributed, 1552 Glass, painted

The panel probably comes from the meeting room at Jestetten.
Bildscheibe von sechs (Künstler-) Gesellen

Pictorial panel for the six (artist) journeymen

Felix Lindtmayer the younger (1524 – 1574), attributed, 1568 Glass, painted

The panel has been re-leaded
Wappenscheibe (Hans) Heinrich Irmensee (gest. 1591)

Armorial panel for (Hans) Heinrich Irmensee (died. 1591)

Felix Lindtmayer the younger (about 1523/1524–1574), Workshop(?), 1571 Glass, painted

The original donor of the panel was (Hans) Heinrich Irmensee (died. 1591).
Allianzwappenscheibe Franz Ziegler, Magdalena von Waldkirch und Maria Peyer mit den Wecken (1588 – 1664)

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, painted

The glass panel probably comes from the Oberdorf in Thayngen. It has a small replacement  and new leading.
Allianzwappenscheibe Hans Konrad Peyer im Hof (1597 – 1673) und Dorothea Peyer mit den Weken (1607 – 1673)

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, painted

The panel has some cracks
Allianzwappenscheibe Joachim Peyer mit den Wecken (1609 – 1635) und Susanna Ziegler (gest. 1677)

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, painted

The 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, painted
Willkommscheibe mit unbekanntem Stifterpaar

Welcome panel from an unknown donor couple

Unknown, um 1550 Glass, painted

The donor's inscription is missing at the bottom of the panel. In addition, the glass painting has two small replacements and new leading.
Willkommscheibe Hans Hüsler (Hüster) und Frau

Welcome panel for Hans Hüsler (Hüster) and Frau

Unknown, 1561 Glass, painted

The panel has new leading
Figurenscheibe mit den Allianzwappenscheibe Hans Konrad Peyer im Hof (1538 – 1600) und Margret Rordorf (gest. 1594)

Armorial panel with the coats of arms for Hans Konrad Peyer im Hof (1538 – 1600) and Margret Rordorf (died 1594)

Unknown, 1563 Glass, painted

The panel has been releaded
Standesscheibe Schaffhausen

Armorial panel for Schaffhausen

Unknown, 1567 Glass, painted

The panel has new leading
Stadtscheibe Diessenhofen

Armorial panel for the Town of Diessenhofen

Unknown (Schaffhauser), 1571 Glass, painted

The panel has replacements and new leading
Allianzwappenscheibe Martin Peyer mit den Wecken und Elisabeth Ziegler mit dem Urteil Salomos

Pictorial panel with the coats of arms for Martin Peyer mit den Wecken and Elisabeth Ziegler with the Judgement of Solomon

Unknown, 1573 Glass, painted

The donors of the armorial panel were originally  Elisabeth Ziegler (1523-1607) and Martin Peyer (1515-1582).
Allianzwappenscheibe Hans Jakob Hünerwadel (gest. 1598) und Dorothea Schwarz mit der Auferstehung Christi

Roundel with the coats of arms of Hans Jakob Hünerwadel (died 1598) and Dorothea Schwarz with the resurrection of Christ

Unknown, 1587 Glass, painted

The roundel was originally the donation of Hans Jakob Hünerwadel (d. 1598) and Dorothea Schwarz.
Allianzwappenscheibe von Waldteich und Peyer mit den Wecken

Panel with the coats of arms for Waldkirch and Peyer mit den Wecken

Unknown, um 1600 Glass, painted

The 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.
Rundscheibe mit Wappen Oschwald und unbekanntem Wappen

Roundel with the coats of arms for Oschwald and another unknown

Unknown, um 1600 Glass, painted

Das Glasgemälde ist mehrfach geflickt und hat eine neue Verbleiung.
Allianzscheibe Hans Conrad Baldenhofer und Ursula Schalch sowie Zacharias Billing und Maria Hermann mit Darstellung des Sündenfalls

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, painted
Runde Figurenscheibe mit Allianzwappen Dietgen Ring von Wildebern

Roundel with the coats of arms for Dietegen Ringk von Wildenberg (1589 – 1618) and Magdalena Im Thurn

Unknown, 1611 Glass, painted

Das 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, painted

The donor of the panel was originally Joachim Im Thurn (1545–1596).
Runde Allianzwappenscheibe Joachim Peyer mit den Wecken und Susanna Ziegler

Roundel with coats of arms for Joachim Peyer mit den Wecken (1609 – 1635) and Susanna Ziegler (died 1677)

Unknown, um 1900 Glass, painted
Venus erscheint Aeneas und Achates auf dem Weg nach Karthago

Venus appears to Aeneas and Achates on their way to Carthage

John Howes (before 1770–after 1793), 1775 Enamel painting on Copper , Metal, gilded

Portrait miniature of Carl Albrecht von Frisching (1734 – 1801)

Johann Heinrich Hurter (1734–1799), 1768 Copper enamel, Metal, gilded
Miniaturportrait mit dem Bildnis der Angelika Kauffmann (1741 – 1807)

Portrait miniature of Angelika Kauffmann (1741 – 1807)

Johann Heinrich Hurter (1734–1799), 1779 Enamel painting on Copper , Metal, Copper alloy, gilded

Among 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).
Miniatur eines unbekannten Mannes mit Allonge-Perücke und Jabot

Portrait miniature of an unknown man with a long wig and jabot

Johann Friedrich Peyer (1697–1759), 1718 Metal, Sheet copper, painted
Miniatur, Dr. med. Johann Conrad Peyer (1653 – 1712)

Portrait miniature of Dr. med. Johann Conrad Peyer (1653 – 1712)

Unknown / Johann Friedrich Peyer (1697–1759), ascribed, um 1700 Tortoiseshell, Metal, Brass, painted
Miniatur mit Bildnis des Samuel Grynaeus

Portrait miniature of Samuel Grynaeus

Abel Stimmer (1542–after 1606) (?), 1569 Metal, Copper, painted

Abel 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.
Miniatur mit dem Bildnis der Elisabeth Peyer

Portrait miniature of Elisabeth Peyer, wife of Samuel Grynäus

Abel Stimmer (1542–nach 1606) (?), 1569 Metal, Copper, painted

Abel 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.
Trinkschale für Ferdinand Ludwig Peyer-Keller (1814 – 1894)

Standing dish for Ferdinand Ludwig Peyer-Keller (1814 – 1894)

Bosshard and Son, 1886 Metal, Silver, gilded, engraved, embossed

The Bosshard workshop was in Luzern.
Spanisch - Suppenschüssel mit Allianzwappen Peyer-Im Thurn

Spanish - covered dish with coat of arms for Peyer with Im Thurn

Hans Conrad Flach (1616–1682), ascribed, 1643 – 1682 (?) Bronze, cast
Schlangenhautbecher oder sog. Schwitzbecher

'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, gilded
Messkelch von Pater Bernhard Mayr von Baldegg (1687 – 1756)

Chalice of father Bernhard Mayr von Baldegg (1687 – 1756)

Hans Jakob II. Läublin (1664–1730), 1711 oder 1727 Silver, gilded
Glockenkanne

Glockenkanne (Swiss Bell Jug)

Andreas Moser (1768–1812), 1790 / 1812 Metal, Tin, cast, engraved
Silberbecher (Zunftbecher)

Silver beaker (Guild beaker)

Hans Georg Oschwald (1667–1745), 1695 Metal, Silver, gilded
Dose

Box

Hans Georg I. (zum Otter) Ott (1667–1745), 1694 / 1707 Metal, Silver

In 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.
Zuckerdose

Sugar box

Hans Georg I. (zum Otter) Ott (1667–1745), 1707 / 1734 Metal, Silver
Zwei Kerzenstöcke

Pair of Candlesticks

Thomas Pröll (1678–1729), um 1720 Metal, Silver, embossed
Teekanne mit Deckel und Allianzwappen Wessenberg-Ampringen

Teapot with cover and coat of arms of Wessenberg-Ampringen

Hans Heinrich Speissegger (1687–1759), 1734 – 1756 / 18. Jahrhundert / 1760 - 1765 Metal, Silver, fire-gilded
Glocke aus Schloss Haslach, gestiftet von Hans Jakob Peyer (gest. 1617)

Bell from Schloss Haslach , donated by Hans Jakob Peyer (d. 1617)

Ulrich Stalder, 1595 Bronze, cast
Doppelscheuer mit Allianzwappen Hans Ludwig Peyer - Zollikofer

Double drinking cup ( called a 'Doppelscheue') with the coats of arms for Hans Ludwig Peyer - Zollikofer

Hans Ulrich Ulmer (1563–1624), 1608 Silver, gilded, embossed

The 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).
Hufeisen

Horseshoe with historical note about the Peyer family on cardboard insert

Hans Peyer (about 1410–1478), um 1450 Pen on card, Iron, forged

The 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 Iron
Hausse-Col

Gorget or Hausse-col

Unknown, 17. Jahrhundert Metal, Copper, gilded

The 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.
Silberfiligran - Anhänger mit Allianzwappen Ziegler - Peyer

Silver filigree pendant with the coat of arms for Ziegler - Peyer

Unknown, 2. Hälfte 17. Jahrhundert Metal, Silver, enamelled
Breitrandplatte mit Pfauen-Darstellung

Wide rimmed pewter dish with Peacock engraving

Hans Adam I. Wüscher (1653–1707), 1670 - 1707 Metal, Tin, engraved
Leinenstickerei mit Allianzwappen Peyer - Ziegler und Jagdszenen

Linen embroidery with coat of arms for Peyer - Ziegler and a hunting scene

Unknown, 1572 White and blue thread on white linen, embroidered
Wollstickerei (Wandbehang) mit Allianzwappen Peyer - Peyer im Hof und Szenen aus der Tobias-Geschichte

Wool 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, embroidered
Leinenstickerei mit Allianzwappen Ab Egg-Wepfer

Linen embroidery with coat of arms for Egg-wipfer

Unknown, 1607 White and brown thread on white linen, embroidered
Leinenstickarbeit mit Allianzwappen Peyer - Peyer im Hof und Personifikationen der Vier Jahreszeiten

Linen 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, stitched

The 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
Wollstickerei mit Blumenranken und Allianzwappen von Waldkirch-Im Thurn

Wool embroidery with tendrils of flowers and Waldkirch-Im Thurn coat of arms

Unknown, 1622 Coloured wools on dark brown wool cloth, embroidered
Wollstickerei mit Allianzwappen Peyer - Peyer im Hof

Wool embroidery with the coat of arms for Peyer - Peyer im Hof

Unknown, 1638 Coloured wools on dark brown wool cloth, embroidered
Leinenstickerei mit gesticktem Tierdekor und Wappenallianz Felix Ramsauer

Linen embroidery with stitched animals and coat of arms for Felix Ramsauer (born 1550) and Katharina Peyer (born 1546)

Unknown, 1592

Wooden biscuit or cake mould: Coat of arms for Joachim Peyer and Susanna Ziegler

Hans Heinrich Ammann (1607–1699), 1632 Wooden, Leather, Pear wood, carved

Baked clay biscuit or clay mould

Hans Caspar Stüdlin (?), 1670 - 1700 Clay, impressed

Impression from baking mould: for Joachim Peyer and Susanna Ziegler

Unknown, 18. Jahrhundert Clay, baked, glazed

This 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, glazed

This 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, painted

This baking mould is an impression of the original for Joachim Peyer und Susanna Ziegler von 1632.
Holzmodel: Adam und Eva

Wooden cake or biscuit mould of Adam and Eve

Unknown, um 1600 Wooden

Clay 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.
Fassbodenwappen Peyer mit den Wecken - Forrer

Wine barrel marking with coat of arms for Peyer mit den Wecken - Forrer

Unknown, um 1707 Wooden, Leather, carved
Fassbodenwappen Stockar-Peyer mit den Wecken

Wine barrel sign with coat of arms for Peyer mit den Wecken - Stokar

Unknown, 1732 Wooden, carved
Armbrust mit Bolzen und Winde

Crossbow with bolt and winch

Unknown, 16. Jahrhundert Steel, Hemp, Wooden, Bone or ivory
Kanone auf Lafette und Protze

Mounted cannon with four wheeled caisson or 'limber'

Unknown, 1636 Bronze, Iron, Wooden
Pistolenpaar

Pair of pistols

Unknown, um 1760 Metal

Booklet: With astronomical and map observations

Georg Erlinger (um 1485–1542), 1516 Fibre, plant, Paper, printed
Plan des Rheinfalls und seiner Umgebungen

Plan of the Rheinfalls and its surroundings

Johann Ludwig Peyer (1780–1842), 1826 Fibre, plant, Paper, painted
Teller mit Wappen Kaspar Peyer zum Saffran

Tin-glazed earthenware plate with the coat of arms for Kaspar Peyer zum Saffran

Hans Heinrich III. Pfau (1642–1719), 1688 Ceramic, painted, glazed
Wismutkästchen der Anastsia Peyer

Bismuth chest for Anastasia Peyer (1604 – 1627)

Unknown c.1620+, 1620 Wooden, Leather, Beech wood, painted

Probably for cosmetic use eg eye shadow

Overdoor with the coats of arms of Schaffhausen justices

Unknown, 1621 Tempera on wood panel
Glockenkanne

Tin-glazed screw top bottle with the coat of arms for Peyer / Im Thurn

Unknown, 2. Hälfte 17. Jahrhundert Clay, Ceramic, glazed, baked
Fayence-Schale mit Allianzwappen Peyer-Im Thurn

Tin-glazed earthenware dish with the Peyer-Im Thurn coat of arms

Unknown, 1650 - 1700 Clay, Ceramic, baked, painted

Four-fold screen

Unkknown, vermutlich18. Jahrhundert Wooden, Leather, Fir, painted
Kinderschlitten

Child's sleigh

Unknown, 2. Hälfte 19. Jahrhundert Wooden, Leather, painted

BIBLIA || SACRA || VETERIS || ET NOVI || Testamenti, || secundum editionem

Unknown, 1578

Vollständiger 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), 1576

Full 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, 1591

Full 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, 1587

Full 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), 1581

Full 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), 1577

Full 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), 1573

Full 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), 1589

Full 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, 1580

Full 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. ||