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Peter´s Altar

Peter´s Altar General view without stipes

Peter´s Altar

ca. 1478

General view without stipes



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.

Location: Nuremberg, St. Sebald Church

Realization: Wolgemut, Werkstatt

photo 2014, Theo Noll

Peter´s Altar Shrine

Peter´s Altar

ca. 1478

Shrine



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.

Location: Nuremberg, St. Sebald Church

Realization: Wolgemut, Werkstatt

photo 2014, Theo Noll

Peter´s Altar Shrine, coronation angels (the papal tiara they wore was removed during the Reformation)

Peter´s Altar

Info

ca. 1478


Shrine, coronation angels (the papal tiara they wore was removed during the Reformation)


photo 2014, Theo Noll


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.

Location: Nuremberg, St. Sebald Church

Realization: Wolgemut, Werkstatt

Peter´s Altar Shrine, sitting Peter

Peter´s Altar

ca. 1478

Shrine, sitting Peter



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.

Location: Nuremberg, St. Sebald Church

Realization: Wolgemut, Werkstatt

photo 2014, Theo Noll

Peter´s Altar Shrine, left key angel

Peter´s Altar

ca. 1478

Shrine, left key angel



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.

Location: Nuremberg, St. Sebald Church

Realization: Wolgemut, Werkstatt

photo 2014, Theo Noll

Peter´s Altar Shrine, right key angel

Peter´s Altar

ca. 1478

Shrine, right key angel



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.

Location: Nuremberg, St. Sebald Church

Realization: Wolgemut, Werkstatt

photo 2014, Theo Noll

Peter´s Altar Shrine, left wing above, Peter being comforted in the dungeon by an angel

Peter´s Altar

ca. 1478

Shrine, left wing above, Peter being comforted in the dungeon by an angel



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.

Location: Nuremberg, St. Sebald Church

Realization: Wolgemut, Werkstatt

photo 2019, Theo Noll

Peter´s Altar Shrine, left wing above, comforting Peter in the dungeon by an angel, detail

Peter´s Altar

ca. 1478

Shrine, left wing above, comforting Peter in the dungeon by an angel, detail



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.

Location: Nuremberg, St. Sebald Church

Realization: Wolgemut, Werkstatt

photo 2019, Theo Noll

Peter´s Altar Shrine, left wing down, crucifixion of Peter

Peter´s Altar

ca. 1478

Shrine, left wing down, crucifixion of Peter



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.

Location: Nuremberg, St. Sebald Church

Realization: Wolgemut, Werkstatt

photo 2019, Theo Noll

Peter´s Altar Shrine, right wing above, Calling of Peter

Peter´s Altar

ca. 1478

Shrine, right wing above, Calling of Peter



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.

Location: Nuremberg, St. Sebald Church

Realization: Wolgemut, Werkstatt

photo 2019, Theo Noll

Peter´s Altar Shrine, right wing above, calling of Peter, detail with heads

Peter´s Altar

Info

ca. 1478


Shrine, right wing above, calling of Peter, detail with heads


photo 2019, Theo Noll


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.

Location: Nuremberg, St. Sebald Church

Realization: Wolgemut, Werkstatt

Peter´s Altar Right wing below, Peter and Paul overcoming the magician Simon

Peter´s Altar

ca. 1478

Right wing below, Peter and Paul overcoming the magician Simon



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.

Location: Nuremberg, St. Sebald Church

Realization: Wolgemut, Werkstatt

photo 2019, Theo Noll

Peter´s Altar Right wing below, Peter and Paul overcoming the magician Simon, upper half of the picture

Peter´s Altar

ca. 1478

Right wing below, Peter and Paul overcoming the magician Simon, upper half of the picture



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.

Location: Nuremberg, St. Sebald Church

Realization: Wolgemut, Werkstatt

photo 2019, Theo Noll

Peter´s Altar Antependium vor dem Stipes: St. Petrus mit dem Stifter Nikolaus Topler und seiner Familie. Topler war in erster Ehe mit der aus Zwickau stammenden Martha, geborene Truhenschmidt (begraben 3.5.1467) und in zweiter mit Clara, geborene Haller verheiratet

Peter´s Altar

Info

ca. 1478


Antependium vor dem Stipes: St. Petrus mit dem Stifter Nikolaus Topler und seiner Familie. Topler war in erster Ehe mit der aus Zwickau stammenden Martha, geborene Truhenschmidt (begraben 3.5.1467) und in zweiter mit Clara, geborene Haller verheiratet


photo 2019, Theo Noll


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.

Location: Nuremberg, St. Sebald Church

Realization: Wolgemut, Werkstatt

Peter´s Altar Antependium, detailed view with the sons of Nicolaus Topler to the right of Peter

Peter´s Altar

ca. 1478

Antependium, detailed view with the sons of Nicolaus Topler to the right of Peter



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.

Location: Nuremberg, St. Sebald Church

Realization: Wolgemut, Werkstatt

photo 2019, Theo Noll

Peter´s Altar Antependium, detail with the sons of Nikolaus Topler to the right of Peter, detail

Peter´s Altar

ca. 1478

Antependium, detail with the sons of Nikolaus Topler to the right of Peter, detail



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.

Location: Nuremberg, St. Sebald Church

Realization: Wolgemut, Werkstatt

photo 2014, Theo Noll

Peter´s Altar Antependium, women's side to the left of Peter. Nikolaus Topler was married in his first marriage to Martha, née Truhenschmidt (buried 3.5.1467) from Zwickau and in his second marriage to Clara, née Haller.

Peter´s Altar

ca. 1478

Antependium, women's side to the left of Peter. Nikolaus Topler was married in his first marriage to Martha, née Truhenschmidt (buried 3.5.1467) from Zwickau and in his second marriage to Clara, née Haller.



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.

Location: Nuremberg, St. Sebald Church

Realization: Wolgemut, Werkstatt

photo 2019, Theo Noll

Peter´s Altar Antependium, detail view of the background with a Nuremberg (Toplersches?) pond house

Peter´s Altar

ca. 1478

Antependium, detail view of the background with a Nuremberg (Toplersches?) pond house



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.

Location: Nuremberg, St. Sebald Church

Realization: Wolgemut, Werkstatt

photo 2014, Theo Noll

Werkstatt
Wolgemut

Further works

Imperial window
Imperial window
Peter´s Altar
Peter´s Altar
Ascension of Christ
Ascension of Christ
Man of Sorrows between Saints Philip and James Minor
Man of Sorrows between Saints Philip and James Minor
St Catherine's reredos of Levinus Memminger
St Catherine's reredos of Levinus Memminger
Crucifixion of Christ
Crucifixion of Christ
Cross altar
Cross altar
Epiphany altar
Epiphany altar
High Altar (Schwabach)
High Altar (Schwabach)
High altar / Schwabach / first conversion
High altar / Schwabach / first conversion
High Altar / Schwabach / Second Conversion
High Altar / Schwabach / Second Conversion
Altar in Beerbach
Altar in Beerbach

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A project of the Förderverein Kulturhistorisches Museum Nürnberg e.V. (Association for the Promotion of the Museum of Cultural History Nuremberg - registered association)

The Förderverein Kulturhistorisches Museum Nürnberg e.V. supports the establishment of a museum of cultural history in Nuremberg. In anticipation of this it presents selected works of Nuremberg art in digital form. The Association will be happy to welcome new members. You will find a declaration of membership on our website.

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