- 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.
Hans Georg I. Ott «zum Otter»
In 1689, Hans Georg I. Ott, who called himself "zum Otter" to distinguish him from a namesake, became a master goldsmith. Although this was actually not permitted he sometimes employed three or even four journeymen in his workshop and must have been very successful. One of his journeymen was Thomas Pröll.
Box
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.
Provenance
- 1973 – heute: Peyersche Tobias Stimmer-Stiftung, Schaffhausen
- 1973: Galerie für Glasmalerei (Kunsthandel Sibyll Kummer-Rothenhäusler), Zürich
- unbekannt: Kunsthandel, New York
- vor 1947: Schloss Dessau
- unbekannt: Familie Reinhart, Winterthur
Guardein
Heinrich I. Bucher (1656–nach 1710)Exhibitions
- 10.05.2019 – 06.10.2019: Kunst aus Trümmern. Die Kulturspenden nach der Bombardierung Schaffhausens 1944, Museum zu Allerheiligen, Schaffhausen
- 01.01.2010: Schaffhausen im Fluss - Dauerausstellung Geschichte, Rundgang 1, Mittelalter, Museum zu Allerheiligen, Schaffhausen
- 21.11.1997 – 30.11.1997: Schaffhauser Goldschmiedekunst, Museum zu Allerheiligen, Schaffhausen
- 20.10.1985: Peyersche Tobias Stimmer-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. 132.
- Ulmer, Carl / Abegglen, Walter R. C.: Schaffhauser Goldschmiedekunst, Schaffhausen: Sturzenegger-Stiftung, 1997. (Katalog zur Ausstellung des Museum zu Allerheiligen Schaffhausen, 21.11. – 30.11.1997), S. 90, Nr. 106.
- 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. 47, Nr. 37.
- Rittmeyer, Dora Fanny: Beiträge zur Geschichte des Goldschmiedehandwerks in Schaffhausen, in: Schaffhauser Beiträge zur vaterländischen Geschichte, Band 24, 1947, S. 16.
Wooden 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.