At the beginning of 1478, St Peter's altar was placed in the choir head of the Sebaldus Church. It corresponds to a sighting from 1476, which has been preserved in the Staatliche Graphische Sammlung in Munich. While the shrine shows carving, the wings were painted (previously attributed to a Nördlingen master). A sprinkling is missing, instead the Risen Christ stands in the central axis above the shrine. No artist's name has survived for this virtuoso work. The altar was donated by Nikolaus Topler. He appears with his family on the altar pendant, while the predella is empty.

The carved figures have been found to have parallels with the master of the Zwickau Marian altar, which according to Stefan Roller were made in the same workshop, cf. Stefan Roller: Nürnberger Bildhauerkunst der Spätgotik: Beiträge zur Skulptur der Reichsstadt in der zweiten Hälfte des 15. Jahrhunderts, Berlin 1999, p. 149.

Dr. Pablo de la Riestra / October 2014

The paintings can be assigned stylistically and in terms of art technology to the Wolgemut workshop. The same painters and sculptors seem to have worked on Wolgemut's Zwickau reredos. In addition, there is clear evidence that working materials (so-called press brocade models) from the same workshop were used on the St Peter's reredos.

see also Zwickau High Altarpiece Retable:

Here we can point to stylistic parallels between the two works.

The sculptures come from the same workshop, as noted by Stefan Roller.

At the beginning of 1478, St Peter's altar was placed in the choir head of the Sebaldus Church. It corresponds to a sighting from 1476, which has been preserved in the Staatliche Graphische Sammlung in Munich. While the shrine shows carving, the wings were painted (previously attributed to a Nördlingen master). A sprinkling is missing, instead the Risen Christ stands in the central axis above the shrine. No artist's name has survived for this virtuoso work. The altar was donated by Nikolaus Topler. He appears with his family on the altar pendant, while the predella is empty.

The carved figures have been found to have parallels with the master of the Zwickau Marian altar, which according to Stefan Roller were made in the same workshop, cf. Stefan Roller: Nürnberger Bildhauerkunst der Spätgotik: Beiträge zur Skulptur der Reichsstadt in der zweiten Hälfte des 15. Jahrhunderts, Berlin 1999, p. 149.

Dr. Pablo de la Riestra / October 2014

The paintings can be assigned stylistically and in terms of art technology to the Wolgemut workshop. The same painters and sculptors seem to have worked on Wolgemut's Zwickau reredos. In addition, there is clear evidence that working materials (so-called press brocade models) from the same workshop were used on the St Peter's reredos.

see also Zwickau High Altarpiece Retable:

Here we can point to stylistic parallels between the two works.

The sculptures come from the same workshop, as noted by Stefan Roller.

At the beginning of 1478, St Peter's altar was placed in the choir head of the Sebaldus Church. It corresponds to a sighting from 1476, which has been preserved in the Staatliche Graphische Sammlung in Munich. While the shrine shows carving, the wings were painted (previously attributed to a Nördlingen master). A sprinkling is missing, instead the Risen Christ stands in the central axis above the shrine. No artist's name has survived for this virtuoso work. The altar was donated by Nikolaus Topler. He appears with his family on the altar pendant, while the predella is empty.

The carved figures have been found to have parallels with the master of the Zwickau Marian altar, which according to Stefan Roller were made in the same workshop, cf. Stefan Roller: Nürnberger Bildhauerkunst der Spätgotik: Beiträge zur Skulptur der Reichsstadt in der zweiten Hälfte des 15. Jahrhunderts, Berlin 1999, p. 149.

Dr. Pablo de la Riestra / October 2014

The paintings can be assigned stylistically and in terms of art technology to the Wolgemut workshop. The same painters and sculptors seem to have worked on Wolgemut's Zwickau reredos. In addition, there is clear evidence that working materials (so-called press brocade models) from the same workshop were used on the St Peter's reredos.

see also Zwickau High Altarpiece Retable:

Here we can point to stylistic parallels between the two works.

The sculptures come from the same workshop, as noted by Stefan Roller.

At the beginning of 1478, St Peter's altar was placed in the choir head of the Sebaldus Church. It corresponds to a sighting from 1476, which has been preserved in the Staatliche Graphische Sammlung in Munich. While the shrine shows carving, the wings were painted (previously attributed to a Nördlingen master). A sprinkling is missing, instead the Risen Christ stands in the central axis above the shrine. No artist's name has survived for this virtuoso work. The altar was donated by Nikolaus Topler. He appears with his family on the altar pendant, while the predella is empty.

The carved figures have been found to have parallels with the master of the Zwickau Marian altar, which according to Stefan Roller were made in the same workshop, cf. Stefan Roller: Nürnberger Bildhauerkunst der Spätgotik: Beiträge zur Skulptur der Reichsstadt in der zweiten Hälfte des 15. Jahrhunderts, Berlin 1999, p. 149.

Dr. Pablo de la Riestra / October 2014

The paintings can be assigned stylistically and in terms of art technology to the Wolgemut workshop. The same painters and sculptors seem to have worked on Wolgemut's Zwickau reredos. In addition, there is clear evidence that working materials (so-called press brocade models) from the same workshop were used on the St Peter's reredos.

see also Zwickau High Altarpiece Retable:

Here we can point to stylistic parallels between the two works.

The sculptures come from the same workshop, as noted by Stefan Roller.

At the beginning of 1478, St Peter's altar was placed in the choir head of the Sebaldus Church. It corresponds to a sighting from 1476, which has been preserved in the Staatliche Graphische Sammlung in Munich. While the shrine shows carving, the wings were painted (previously attributed to a Nördlingen master). A sprinkling is missing, instead the Risen Christ stands in the central axis above the shrine. No artist's name has survived for this virtuoso work. The altar was donated by Nikolaus Topler. He appears with his family on the altar pendant, while the predella is empty.

The carved figures have been found to have parallels with the master of the Zwickau Marian altar, which according to Stefan Roller were made in the same workshop, cf. Stefan Roller: Nürnberger Bildhauerkunst der Spätgotik: Beiträge zur Skulptur der Reichsstadt in der zweiten Hälfte des 15. Jahrhunderts, Berlin 1999, p. 149.

Dr. Pablo de la Riestra / October 2014

The paintings can be assigned stylistically and in terms of art technology to the Wolgemut workshop. The same painters and sculptors seem to have worked on Wolgemut's Zwickau reredos. In addition, there is clear evidence that working materials (so-called press brocade models) from the same workshop were used on the St Peter's reredos.

see also Zwickau High Altarpiece Retable:

Here we can point to stylistic parallels between the two works.

The sculptures come from the same workshop, as noted by Stefan Roller.

At the beginning of 1478, St Peter's altar was placed in the choir head of the Sebaldus Church. It corresponds to a sighting from 1476, which has been preserved in the Staatliche Graphische Sammlung in Munich. While the shrine shows carving, the wings were painted (previously attributed to a Nördlingen master). A sprinkling is missing, instead the Risen Christ stands in the central axis above the shrine. No artist's name has survived for this virtuoso work. The altar was donated by Nikolaus Topler. He appears with his family on the altar pendant, while the predella is empty.

The carved figures have been found to have parallels with the master of the Zwickau Marian altar, which according to Stefan Roller were made in the same workshop, cf. Stefan Roller: Nürnberger Bildhauerkunst der Spätgotik: Beiträge zur Skulptur der Reichsstadt in der zweiten Hälfte des 15. Jahrhunderts, Berlin 1999, p. 149.

Dr. Pablo de la Riestra / October 2014

The paintings can be assigned stylistically and in terms of art technology to the Wolgemut workshop. The same painters and sculptors seem to have worked on Wolgemut's Zwickau reredos. In addition, there is clear evidence that working materials (so-called press brocade models) from the same workshop were used on the St Peter's reredos.

see also Zwickau High Altarpiece Retable:

Here we can point to stylistic parallels between the two works.

The sculptures come from the same workshop, as noted by Stefan Roller.

At the beginning of 1478, St Peter's altar was placed in the choir head of the Sebaldus Church. It corresponds to a sighting from 1476, which has been preserved in the Staatliche Graphische Sammlung in Munich. While the shrine shows carving, the wings were painted (previously attributed to a Nördlingen master). A sprinkling is missing, instead the Risen Christ stands in the central axis above the shrine. No artist's name has survived for this virtuoso work. The altar was donated by Nikolaus Topler. He appears with his family on the altar pendant, while the predella is empty.

The carved figures have been found to have parallels with the master of the Zwickau Marian altar, which according to Stefan Roller were made in the same workshop, cf. Stefan Roller: Nürnberger Bildhauerkunst der Spätgotik: Beiträge zur Skulptur der Reichsstadt in der zweiten Hälfte des 15. Jahrhunderts, Berlin 1999, p. 149.

Dr. Pablo de la Riestra / October 2014

The paintings can be assigned stylistically and in terms of art technology to the Wolgemut workshop. The same painters and sculptors seem to have worked on Wolgemut's Zwickau reredos. In addition, there is clear evidence that working materials (so-called press brocade models) from the same workshop were used on the St Peter's reredos.

see also Zwickau High Altarpiece Retable:

Here we can point to stylistic parallels between the two works.

The sculptures come from the same workshop, as noted by Stefan Roller.

At the beginning of 1478, St Peter's altar was placed in the choir head of the Sebaldus Church. It corresponds to a sighting from 1476, which has been preserved in the Staatliche Graphische Sammlung in Munich. While the shrine shows carving, the wings were painted (previously attributed to a Nördlingen master). A sprinkling is missing, instead the Risen Christ stands in the central axis above the shrine. No artist's name has survived for this virtuoso work. The altar was donated by Nikolaus Topler. He appears with his family on the altar pendant, while the predella is empty.

The carved figures have been found to have parallels with the master of the Zwickau Marian altar, which according to Stefan Roller were made in the same workshop, cf. Stefan Roller: Nürnberger Bildhauerkunst der Spätgotik: Beiträge zur Skulptur der Reichsstadt in der zweiten Hälfte des 15. Jahrhunderts, Berlin 1999, p. 149.

Dr. Pablo de la Riestra / October 2014

The paintings can be assigned stylistically and in terms of art technology to the Wolgemut workshop. The same painters and sculptors seem to have worked on Wolgemut's Zwickau reredos. In addition, there is clear evidence that working materials (so-called press brocade models) from the same workshop were used on the St Peter's reredos.

see also Zwickau High Altarpiece Retable:

Here we can point to stylistic parallels between the two works.

The sculptures come from the same workshop, as noted by Stefan Roller.

At the beginning of 1478, St Peter's altar was placed in the choir head of the Sebaldus Church. It corresponds to a sighting from 1476, which has been preserved in the Staatliche Graphische Sammlung in Munich. While the shrine shows carving, the wings were painted (previously attributed to a Nördlingen master). A sprinkling is missing, instead the Risen Christ stands in the central axis above the shrine. No artist's name has survived for this virtuoso work. The altar was donated by Nikolaus Topler. He appears with his family on the altar pendant, while the predella is empty.

The carved figures have been found to have parallels with the master of the Zwickau Marian altar, which according to Stefan Roller were made in the same workshop, cf. Stefan Roller: Nürnberger Bildhauerkunst der Spätgotik: Beiträge zur Skulptur der Reichsstadt in der zweiten Hälfte des 15. Jahrhunderts, Berlin 1999, p. 149.

Dr. Pablo de la Riestra / October 2014

The paintings can be assigned stylistically and in terms of art technology to the Wolgemut workshop. The same painters and sculptors seem to have worked on Wolgemut's Zwickau reredos. In addition, there is clear evidence that working materials (so-called press brocade models) from the same workshop were used on the St Peter's reredos.

see also Zwickau High Altarpiece Retable:

Here we can point to stylistic parallels between the two works.

The sculptures come from the same workshop, as noted by Stefan Roller.

At the beginning of 1478, St Peter's altar was placed in the choir head of the Sebaldus Church. It corresponds to a sighting from 1476, which has been preserved in the Staatliche Graphische Sammlung in Munich. While the shrine shows carving, the wings were painted (previously attributed to a Nördlingen master). A sprinkling is missing, instead the Risen Christ stands in the central axis above the shrine. No artist's name has survived for this virtuoso work. The altar was donated by Nikolaus Topler. He appears with his family on the altar pendant, while the predella is empty.

The carved figures have been found to have parallels with the master of the Zwickau Marian altar, which according to Stefan Roller were made in the same workshop, cf. Stefan Roller: Nürnberger Bildhauerkunst der Spätgotik: Beiträge zur Skulptur der Reichsstadt in der zweiten Hälfte des 15. Jahrhunderts, Berlin 1999, p. 149.

Dr. Pablo de la Riestra / October 2014

The paintings can be assigned stylistically and in terms of art technology to the Wolgemut workshop. The same painters and sculptors seem to have worked on Wolgemut's Zwickau reredos. In addition, there is clear evidence that working materials (so-called press brocade models) from the same workshop were used on the St Peter's reredos.

see also Zwickau High Altarpiece Retable:

Here we can point to stylistic parallels between the two works.

The sculptures come from the same workshop, as noted by Stefan Roller.

At the beginning of 1478, St Peter's altar was placed in the choir head of the Sebaldus Church. It corresponds to a sighting from 1476, which has been preserved in the Staatliche Graphische Sammlung in Munich. While the shrine shows carving, the wings were painted (previously attributed to a Nördlingen master). A sprinkling is missing, instead the Risen Christ stands in the central axis above the shrine. No artist's name has survived for this virtuoso work. The altar was donated by Nikolaus Topler. He appears with his family on the altar pendant, while the predella is empty.

The carved figures have been found to have parallels with the master of the Zwickau Marian altar, which according to Stefan Roller were made in the same workshop, cf. Stefan Roller: Nürnberger Bildhauerkunst der Spätgotik: Beiträge zur Skulptur der Reichsstadt in der zweiten Hälfte des 15. Jahrhunderts, Berlin 1999, p. 149.

Dr. Pablo de la Riestra / October 2014

The paintings can be assigned stylistically and in terms of art technology to the Wolgemut workshop. The same painters and sculptors seem to have worked on Wolgemut's Zwickau reredos. In addition, there is clear evidence that working materials (so-called press brocade models) from the same workshop were used on the St Peter's reredos.

see also Zwickau High Altarpiece Retable:

Here we can point to stylistic parallels between the two works.

The sculptures come from the same workshop, as noted by Stefan Roller.

At the beginning of 1478, St Peter's altar was placed in the choir head of the Sebaldus Church. It corresponds to a sighting from 1476, which has been preserved in the Staatliche Graphische Sammlung in Munich. While the shrine shows carving, the wings were painted (previously attributed to a Nördlingen master). A sprinkling is missing, instead the Risen Christ stands in the central axis above the shrine. No artist's name has survived for this virtuoso work. The altar was donated by Nikolaus Topler. He appears with his family on the altar pendant, while the predella is empty.

The carved figures have been found to have parallels with the master of the Zwickau Marian altar, which according to Stefan Roller were made in the same workshop, cf. Stefan Roller: Nürnberger Bildhauerkunst der Spätgotik: Beiträge zur Skulptur der Reichsstadt in der zweiten Hälfte des 15. Jahrhunderts, Berlin 1999, p. 149.

Dr. Pablo de la Riestra / October 2014

The paintings can be assigned stylistically and in terms of art technology to the Wolgemut workshop. The same painters and sculptors seem to have worked on Wolgemut's Zwickau reredos. In addition, there is clear evidence that working materials (so-called press brocade models) from the same workshop were used on the St Peter's reredos.

see also Zwickau High Altarpiece Retable:

Here we can point to stylistic parallels between the two works.

The sculptures come from the same workshop, as noted by Stefan Roller.

At the beginning of 1478, St Peter's altar was placed in the choir head of the Sebaldus Church. It corresponds to a sighting from 1476, which has been preserved in the Staatliche Graphische Sammlung in Munich. While the shrine shows carving, the wings were painted (previously attributed to a Nördlingen master). A sprinkling is missing, instead the Risen Christ stands in the central axis above the shrine. No artist's name has survived for this virtuoso work. The altar was donated by Nikolaus Topler. He appears with his family on the altar pendant, while the predella is empty.

The carved figures have been found to have parallels with the master of the Zwickau Marian altar, which according to Stefan Roller were made in the same workshop, cf. Stefan Roller: Nürnberger Bildhauerkunst der Spätgotik: Beiträge zur Skulptur der Reichsstadt in der zweiten Hälfte des 15. Jahrhunderts, Berlin 1999, p. 149.

Dr. Pablo de la Riestra / October 2014

The paintings can be assigned stylistically and in terms of art technology to the Wolgemut workshop. The same painters and sculptors seem to have worked on Wolgemut's Zwickau reredos. In addition, there is clear evidence that working materials (so-called press brocade models) from the same workshop were used on the St Peter's reredos.

see also Zwickau High Altarpiece Retable:

Here we can point to stylistic parallels between the two works.

The sculptures come from the same workshop, as noted by Stefan Roller.