- 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
Niklaus Bluntschli
Niklaus Bluntschli comes from a family of glass painters. A roundel from 1511 for the St. Gall abbot Diethelm Blarer is considered to be his first work. In 1556 he designed several panes of glass for the “Red Sword” inn, which belonged to his cousin Jakob Bluntschli. Since Niklaus Bluntschli was considered a secret Catholic, he rarely received commissions from the city of Zurich, but he was popular in Catholic areas. In 1566 he became a member of the Meisenzunft, in 1568 bailiff of the Schänis monastery. The works for the cloister of Tänikon monastery, which are considered to be his most important, are scattered today. His roundels are still in their original location in the Wettingen monastery.
Visitation
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.
Provenance
- 2012 – heute: Peyersche Tobias Stimmer-Stiftung, Schaffhausen
- unbekannt – 2012: Klaus Lanker, St. Gallen
- unbekannt: Kunsthandel Gertrud Rudigier, München
- unbekannt: Süddeutscher Privatbesitz
Exhibitions
- 10.05.2019 – 06.10.2019: Kunst aus Trümmern. Die Kulturspenden nach der Bombardierung Schaffhausens 1944, Museum zu Allerheiligen, Schaffhausen
- 19.03.2016 – 28.08.2016: Heiliger Besuch - Skulpturen der Sammlung E.G. Bührle und Madonnen von Annelies Strba, Museum zu Allerheiligen, Schaffhausen
- 04.09.2015 – 31.01.2016: Zankapfel Thurgau, Historisches Museum Thurgau, Frauenfeld
- 10.04.2014 – 21.09.2014: Ritterturnier. Fest und Spektakel im Mittelalter und in der Renaissance, Museum zu Allerheiligen, Schaffhausen
- 01.10.2013 – 05.01.2014: Zwischenspiel I, Museum zu Allerheiligen, Schaffhausen