Rue du Rhône

LGT. A piece of in the heart of Geneva. Cover picture: Portrait of Prince Johann I of Liechtenstein The Princely Collections

Johann Baptist Lampi, detail from “Portrait of Prince Johann I of Liechtenstein,“ 1816 For more than four hundred years, the Princes Please see page 23 of this brochure for detailed information about the cover picture. of Liechtenstein have been passionate art collectors. The Princely Collections include key © LIECHTENSTEIN. The Princely Collections, - works of European art stretching over five cen- turies and are now among the world’s major private art collections. The notion of promot- ing fine arts for the general good enjoyed greatest popularity during the Baroque period. The has pursued this ideal consistently down the generations.

We make deliberate use of the works of art in the Princely Collections as imagery to accompany what we do. For us, they embody precisely those values that form the basis for a successful partnership with our clients: a long-term focus, skill and reliability.

www.liechtensteincollections.at 3 Welcome

A warm welcome to our Geneva office at Rue du Rhône 21. Following a complete renovation in 2014 our employees in Geneva were able to move into the fully refurbished premises as scheduled. When we began planning the reno- vation in 2010, we had an ambitious goal: we wanted to set a new standard for sustainability in a renovation project. Today I can confirm that we achieved this lofty ambition. Rue du Rhône 21 is our first building to comply fully with the sustainability strategy that we formulated in 2010. We have significantly reduced its environmental impact by using the latest technology, and can now offer our employees and clients not only a fantastic view of Lake Geneva but also a very pleasant and inspiring environment.

This project at our Geneva branch is representative of our fundamental outlook as a family-run private bank: we think and act in terms of generations. Sustainability is an integral part of this philosophy. Our cross-generational thinking is also reflected in the interior design of our Geneva branch: each of the eleven client meeting rooms on the top floor is named after a different head of our family from the last five centuries and features details of a work of art from the Princely Collections of that era. We look forward to welcoming you to these very special rooms.

H.S.H. Prince Max von und zu Liechtenstein CEO LGT 4 Bound to history

“Only someone who knows where One of the rooms bears the name of Prince of he has come from knows where he Liechtenstein. Geneva, city of diplomacy and headquarters of the United Nations, would definitely have appealed to him. is going.” Himself an ambassador at the court of Louis XV in Versailles, Theodor Heuss his name has now been given to one of the meeting rooms at the new LGT office in Geneva. This is the credo embodied by the owners of LGT, the Princely Family of Liechtenstein. It has built up one of the most impor- In our meeting rooms, our visitors can now experience and tant private collections in the world, over many generations learn about the centuries-old tradition and history of the and with thoughtfulness and expertise, and preserved it for Princely House in a very real way – as well as enjoying the posterity. Today, the Princely Collections include major works magnificent view of the city and Lake Geneva that has been of European art from five centuries. cleverly incorporated into the design of the interior.

Creating, preserving and increasing value across the genera- For us as a private bank, the works from the Princely Collections tions is also the core purpose and raison d’être of our activities symbolize timeless values like tradition, continuity and the high in Private Banking and Asset Management. At our new office standards we set ourselves. These values are once again very on Rue du Rhône in Geneva, we want to express this ethos in topical in the banking world. History and the past can open our a very special way: we have named each of the eleven meeting eyes to the present and show us the way forward to the future. rooms on the top floor after one of the Princes of the House of Liechtenstein, as shown on the following pages. Pictures of works of art from the collection dating from the relevant era will give each of these rooms a distinctive and very personal feel.

Sustainable refurbishment

The building designed in the 1960s by the Geneva architect Marc- Joseph Saugey was completely refurbished between 2013 and 2015 to comply with the Minergie standard. The environmentally friendly heating, ventilation and cooling system is powered by lake water, which leads to significant reductions in both energy consumption and

CO2 emissions. Additional energy-saving measures include the solar panels on the flat roof and a lighting system based on LED technology. Altogether, the complete refurbishment has reduced the building’s energy consumption by 40 to 45 percent. The solar panels also generate 45 000 kW of electricity each year. 5

Franz Josef I Alois I Johann I Alois II Johann II page 19 page 21 page 23 page 25 page 27

Staircase

Joseph Office Elevator Wenzel I page 17 Reception area

Anton Florian I Johann Adam Karl Karl I Hartmann II page 15 Andreas I Eusebius I page 9 page 7 page 13 page 11

Top floor layout, Rue du Rhône 21 History is also about the passage of time. If you would like to pass some time with us, we would be glad to invite you for a tour of the princely rooms. Hans Mielich, detail from “Portrait of Ladislaus of Fraunberg, last of Haag,“ 1557 7 Baron Hartmann II of Liechtenstein

In 1568, Baron Hartmann II of Liechtenstein (1544–1585) married Anna Maria, Countess of Ortenburg, niece of Count Ladislaus of Haag, who had his portrait painted, with his leop- ard, by Hans Mielich (1516–1573) in 1557. As an enthusiastic book collector, he had his collection bound in leather to his own design and he commissioned fine embossed and gilded work which made the books especially precious. Some of these volumes are still to be found in the Princely Library and reflect the Baron’s curiosity about all kinds of different fields of knowl- edge. As well as paintings and books, he is likely to have collected other valuable objects.

Having received goods in fealty (in exchange for service) in , Baron Hartmann II advanced to become a highly re- garded confidant at the courts of Emperors Maximilian II

“…brought up from their youth to be Peter van Roy, detail from “Portrait of Baron Hartmann II of Liechtenstein,“ 1711 God-fearing, virtuous and skilled in the

arts befitting their status...” Liechtenstein, is fashionably dressed in the Spanish that

Baron Hartmann II of Liechtenstein in his last will and testament, was popular at the time. His tunic is lavishly decorated with on the upbringing of his sons gold embroidery, while his pose is that of a proud man: one hand is reaching for his sword, while the other rests on a table and Rudolf II, a mediator in Austro-Moravian border disputes covered with an Anatolian carpet. Through the open window and a provider of credit to the emperors. In 1575, he suc- of the chamber in which the dignified nobleman, bedecked ceeded in buying back the baronial estate of Eisgrub that with gold chains, is standing, his palace in a winter landscape had been sold a few years previously. It was there that Baron can be seen. The room is decorated with numerous objects Hartmann II died in autumn 1585, leaving instructions in his relating to the subject of the painting: his name and coat of will for how his children should be brought up and educated. arms with the motto With work and God’s help (Cum labore et He also instructed them to honor the family name and pre- deo ivvante) are depicted in stained glass, the trophies of a bold serve the standing of the . warrior hang on the wall and the arrangement of a crucifix, hourglass and skull with the motto Death takes all (Mors omnia Portrait of Ladislaus of Fraunberg rapit) is intended as a reminder of the transience of life. An This life-size portrait, signed and dated by the artist Hans unusual feature is the Count’s companion, a leopard with its Mielich (1516–1573) from Munich, became one of the very owner’s initials embossed in gold letters on its impressive collar. first paintings to find its way into the collection of the Princes Gundaker of Liechtenstein wrote in 1640 of a tiger-like animal, of Liechtenstein. Ladislaus of Fraunberg, the last Count of always by his side like a dog, which Ladislaus of Fraunberg had Haag and the uncle of the wife of Baron Hartmann II of received as a gift from his Italian relatives. Workshop of Castrucci, detail from “Pietra tabletop,“ 1620/1623 9 Prince Karl I of Liechtenstein

Prince Karl I of Liechtenstein (1569–1627), the eldest son of Baron Hartmann II, was carefully brought up, studied in Geneva and went on a cultural tour through France, before taking up his father’s inheritance in 1591. He began his career in imperial service as treasurer to Archduke Matthias (1557–1619), before being summoned to as Chief Intendant at the court of Emperor Rudolf II (1552–1612) and finally honored with the hereditary title of Prince. Through his involvement in politics, the first Knight of the Order of the Golden Fleece to come from the Liechtenstein family was able to observe the creation of works at Rudolf’s court.

As well as numerous paintings by the artists at the Prague court, many other objets d’art found their way into Prince Karl I’s collection. These included works by jewelers and master goldsmiths as well as stone carvers. The Dutch sculptor Adriaen Unknown artist, detail from “Portrait of Prince Karl I of Liechtenstein,“ c. 1625 “…that you apparently have some

outstanding and rare artworks and The design of the tabletop is structured with strips of jasper, paintings...” decorated with inlaid tetrahedrons, flowers and little animals such as lizards, frogs, caterpillars, snails and butterflies. In the In September 1597, Emperor Rudolf II wrote to Prince Karl I of Liechtenstein that he had heard about the treasures in corners is the letter “C,” the customer’s initial, while the letter his collection. “F” refers to his patron, Emperor Ferdinand II, who in January 1622 appointed him Viceroy of . de Vries (1556–1626) was commissioned to make sculptures for both Emperor Rudolf II and Prince Karl I. The statues of The table was described in the “Guardaroba inventory” of “Christus im Elend” (Christ in Distress) and “Saint Sebastian” Prince Karl Eusebius I of Liechtenstein in 1658: item, a fine are still in the Princely Collections today. When the Prince died, square stone table, inlaid with different colors, set with many Emperor Ferdinand II said he had “...a special love of beautiful garnets, together with a coarse wooden base. In 1705, a things…“, underlining his passion for precious and unusual carved base was made for the table in the style of the time works of art. by the Italian sculptor Giovanni Giuliani (1664–1744), who worked for Prince Johann Adam Andreas I (1657–1712) at Pietra tabletop the Garden Palace and the City Palace. The tabletop was made in the Prague workshop of the Italian Castrucci family, out of “commessi di pietre dure” – inlaid stone – for Prince Karl I of Liechtenstein. The small sections edged with garnets depict landscapes, trophies and geomet- ric shapes, while in the middle is the Prince’s coat of arms. Dionysio Miseroni, “Maienkrug of Prince Karl Eusebius of Liechtenstein,“ 1639/40 11 Prince Karl Eusebius I of Liechtenstein

The life of Prince Karl Eusebius I (1611–1684) was particularly characterized by the princely virtue of curiositas. In 1632, at the age of 21, after going on the Grand Tour that was expected of young aristocrats which took him to the Netherlands and France, he took over the responsibilities of head of the House of Liechtenstein. His aim was to preserve and enhance the status and reputation of his family.

His special interests were architecture, acquiring paintings and objets d’art, and breeding horses. Even during the politically turbulent times of the Thirty Years’ War which put the family’s finances under severe strain, he was not afraid to lay the foun- dations for the Princely Family’s art collection. In his acquisitions

“…to be and remain art lovers as

befits their princely status, so that they Unknown artist, detail from “Portrait of the young Prince Karl become famous for owning things that Eusebius I of Liechtenstein,“ c. 1630 not everyone has.” turn the precious stone into a vessel in the shape of a Prince Karl Eusebius I, Book on Architecture Maienkrug (vase with lid), as big as the stone allowed, and he performed the task in accordance with his contract. and in the works he commissioned himself, he showed a refined The inventory for the Princely Silver Collection for 1678 taste, an understanding of art and an appreciation of the describes a version made of smoky quartz, but this did not famous masters. survive the Napoleonic Wars in about 1800, and the current version in bronze and gilded silver, decorated with enamel, Last but not least, he is also remembered by posterity as the was commissioned in 1810. author of various works on the education of princes, architec- ture and horse breeding. These are still to be found today in Dionysio Miseroni came from a family of craftsmen who had the archives of the Princely Family, and they reflect the mindset specialized in gem cutting for generations. His grandfather of an exceptionally well-educated and sophisticated prince. Gasparo Miseroni (1518–1573) of Milan, and his father Ottavio Miseroni (1567–1624), who was summoned by Rudolf II to the Maienkrug court in Prague, created masterpieces of gem cutting that For this object, the story of how it was commissioned and its became part of the Imperial Collections in Vienna. Prince Karl I history to this day are well documented. On March 1, 1638, had already commissioned vessels from this workshop and his Prince Karl Eusebius I acquired a crystal and on September 10 son Karl Eusebius I continued the tradition – he gave instruc- of the same year Dionysio Miseroni (1607–1661) was contrac- tions for this “Maienkrug” to bear the coat of arms of the ted to cut it. The Italian stonecutter had a year in which to House of Liechtenstein. Peter Paul Rubens, detail from “Venus in front of the mirror,“ c. 1613/1614 13 Prince Johann Adam Andreas I of Liechtenstein

During the Baroque period in Vienna, Prince Johann Adam Andreas I (1657–1712) was one of the leading property owners and employed not only the Salzburg painter Johann Michael Rottmayr (1654–1730) but also numerous Italian artists on the interior design of the Garden Palace in the Rossau district and the City Palace next to the Emperor’s Hofburg palace. Marcantonio Franceschini (1648–1729) and Antonio Bellucci (1654–1726) created paintings, the master of illusionist architectural art in Rome, (1642–1709), produced the ceiling fresco in the Hercules room in the Garden Palace, and Giovanni Giuliani (1664–1744) contributed sculptures for both palaces.

The Prince was able to add a large number of acquisitions to the existing art collection, not only as one of the leading com- missioners of new works, but also as a well-known collector.

“There is barely a prince, minister or Peter van Roy, detail from “Portrait of Prince Johann Adam Andreas I of Liechtenstein,“ 1706 nobleman who does not live in a fine house. But among them all, the palace in the mirror, so that the observer experiences this vision of that Prince Adam of Liechtenstein is feminine beauty virtually from all sides. The Flemish Baroque having built stands out, for it can be painter’s depiction of the different textures of the objects in said without hypocrisy that he spares his composition is masterly, as he plays with the effects of the light on the soft skin, shining hair and different fabrics. Venus’s no expense in making it magnificent.” son, Cupid, holds the mirror at just the right height for the Casimir Freschot, 1705 goddess to watch the observer, maintaining a coy distance as she performs her toilet, but nevertheless interested Among his notable additions were works by the Flemish Baroque and engaging. painter Peter Paul Rubens (1577–1640) and his gifted pupil Anthony van Dyck (1599–1641). Prince Johann Adam Andreas I A wonder of the world… is how the Dutch poet Constantijn commissioned and collected all three genres of art: architecture, Huygens described the art of the painter Peter Paul Rubens painting and sculpture. in 1629 and therefore during his lifetime. Rubens spent eight years working for the aristocratic Gonzaga family in Mantua Venus in front of the mirror and during that time studied the brushstrokes, choice of Peter Paul Rubens painted this picture of Venus, the goddess colors and compositions of the Italian masters. On his return of love and beauty, a few years after his visit to Italy in 1608. to Antwerp he combined the traditions of Flemish art with He used a feature that was very popular in Italian Renaissance those of the ancient world and the Renaissance so success- painting, a mirror. This enabled Rubens to enhance his image fully that his works were celebrated and highly praised by of the goddess’s nude back by showing her face reflected his contemporaries. Johann Georg von Hamilton and Anton Faistenberger, detail from “Portrait of a Piebald horse from the stud of Eisgrub,“ c. 1700 15 Prince Anton Florian I of Liechtenstein

Prince Anton Florian I (1656–1721) was appointed to the Privy Council by Emperor Leopold I (1640–1705), sent as Envoy to the Papal Court in 1689 and promoted to Ambassador in 1691. He was the first representative of the Emperor in Rome who was

“…Your and great connoisseur of the fine arts…”

Gottfried Wilhelm Leibniz in a letter to Prince Anton Florian I, 1714 not in holy orders. For his arrival in Rome, which was recorded in both writing and paintings, he not only had opulent ceremonial carriages built but also brought horses from the Eisgrub stud to the city on the Tiber.

During his time in Rome, he enjoyed close contact with the Unknown artist, detail from “Portrait of Prince Anton Florian l city’s artists, and Prince Anton Florian I succeeded in commis- of Liechtenstein,“ c. 1625 sioning Andrea Pozzo (1642–1709) to paint the frescos in the main hall of the Garden Palace in the Rossau district: between The stallion is shown performing a levade, rearing up, with his 1704 and 1708, he created scenes from the life of Hercules coat painted in every detail and the mane not only carefully and the hero’s apotheosis. plaited but decorated with blue ribbons. According to a catalog in the Liechtenstein Gallery, the horse came from the Eisgrub stud. It was not only his properties in the Emperor’s home city that were close to Prince Anton Florian I’s heart. Spurred by his The stud was famous for horse breeding far beyond the borders keen interest in architecture and horse breeding, he commis- of the Habsburg empire. It housed up to 120 stallions of differ- sioned his court architect Anton Johann Ospel (1677–1756) ent breeds and the stable complex was described as palace not only to redesign his palaces in Feldsberg, Wilfersdorf and for horses. Ebergassing, but also to restyle the riding school in Feldsberg.

Portrait of a Piebald horse from the stud of Eisgrub This painting of a piebald stallion was part of a series of six pic- tures of horses that Johann Georg von Hamilton (1672–1737) painted in 1700 for the interior of the newly built Garden Palace in the Rossau district. Some years later, the landscape artist Anton Faistenberger (1663–1708) added a natural backdrop to four of the paintings. Nicolas Pineau, detail from “The Golden Carriage of Prince Joseph Wenzel I. of Liechtenstein,“ 1738 17 Prince Joseph Wenzel I of Liechtenstein

Prince Joseph Wenzel I (1696–1772) was both a highly regarded diplomat and a sophisticated connoisseur of art in the Baroque period. He deployed his outstanding strategic and organizational skills with great success in the service of the imperial family.

A high point of his career was reached when he was appointed ambassador in Versailles in December 1738. The Golden Car- riage that was commissioned for the occasion, his splendidly bedecked entourage and the magnificent piebald horses from

“Ambition was a leading trait in his character – he prized honor more than life or wealth.”

Johann Pezzl about Prince Joseph Wenzel I, 1792 his own stud at Eisgrub caused a sensation and held spectators Hyacinthe Rigaud, detail from “Portrait of Prince Joseph Wenzel I spellbound. While in , Joseph Wenzel acquired numerous of Liechtenstein,“ 1740 paintings for the Princely Collection and also twice had his portrait painted by the French court painter Hyacinthe Rigaud in Vienna has been preserved. When the Prince made his entrée (1659–1743), in the pose of a self-assured statesman. publique in 1738, there were 58 pageboys and servants dressed in sumptuous and richly embroidered livery in his retinue. His Not least among his achievements, he was also responsible magnificent arrival attracted a great deal of attention in France. for the extensions to the palace at Feldsberg by the architect Anton Johann Ospel (1677–1756) and for the first catalog of The state carriage was used again in 1760 for the wedding the Princely Collection of paintings. procession in Vienna on the occasion of the marriage of Emperor Josef II (1741–1790) to Isabella of Parma-Bourbon When he died in Vienna 1772, Maria Theresia (1717–1780), (1741–1763). The newspaper Viennese “Diarium” gave a ruling sovereign of the , wrote letters of detailed report of this event: No pen can adequately describe condolence with her own hand and expressed her esteem the pomp and splendor with which this festive and extremely with the following words: He was one of those men, the like happy day was celebrated… of which we will not see again. The painted panels of the Rococo-style carriage depict allego- The Golden Carriage ries of the four seasons and the four elements, represented by In 1737, the Parisian craftsman Nicolas Pineau (1684–1754) was putti at play. The interior of the carriage is decorated with red commissioned to produce several ceremonial carriages for the velvet, embroidered with gold and silver thread. arrival of Prince Joseph Wenzel I in Versailles. Only the Golden Carriage that is still on display in the Liechtenstein Garden Palace Friedrich Oelenhainz, detail from “Portrait of the future Prince Johann I of Liechtenstein,“ 1776 19 Prince Franz Josef I of Liechtenstein

Prince Franz Josef I (1726–1781) received a great deal of support from his uncle, Prince Joseph Wenzel I, who also influenced his nephew’s interests. He accompanied his uncle on military and diplomatic missions and in 1772 became head of the family. Thanks to an inheritance from his aunt, Princess Maria Theresa of Savoy (1694–1772), the family’s wealth was multiplied.

“…the gallery of his Highness François Joseph, head and ruling prince of the House of Liechtenstein…”

Johann Dallinger of Dalling, Catalogue of paintings and sculptures of the gallery of Prince Franz Josef I of Liechtenstein, Vienna 1780

During his reign, the collections were located in the Viennese palaces on Herrengasse and Bankgasse. In 1780, Prince Franz Alexander Roslin, detail from “Portrait of Prince Franz Josef I Josef I instructed his gallery inspector, the artist Johann Dallinger of Liechtenstein,“ 1778 of Dalling (1741–1806), to catalog the Princely Collection of paintings. The technique and subject of each were recorded in For the background, Oelenhainz used a semi-circular architec- French. Importantly, for paintings displayed in the Bankgasse tural structure in classical style, with plants growing over it in palace, their location was noted. This means that we can still places. The Prince, dressed in a sumptuous outfit, is shown trace today how they were originally hung in Baroque times. seated at a table on which books, drawing instruments and sheets of paper are arranged. He is looking at the observer Prince Franz Josef I had the Baroque sculptures by Giovanni and pausing in his task of copying or sketching the bust of Giuliani (1664–1744) removed from the park of the Garden a lady that is positioned in front of him. A slight smile plays Palace, in order to have the grounds redesigned as a land- around his mouth. scaped garden. He also acquired Asian porcelain objects from China and Japan which he had mounted by the Viennese The painter Friedrich Oelenhainz was born in Endingen in silversmith Johann Nepomuk Würth (1753–1811). Württemberg and specialized in portraits. His travels took him, among other places, to study at the Academy in Vienna. There Portrait of the future Prince Johann I of Liechtenstein he advanced rapidly to become one of the favorite artists of Prince Franz Josef I of Liechtenstein commissioned the Swiss the aristocracy and the upper class. For his portraits of members artist Friedrich Oelenhainz (1745–1804) to paint eight portraits of the Princely Family, he chose gentle, delicate colors that were of his family, including this likeness of the future Prince Johann I. typical of the Rococo style. The portraits were originally part of the wall decoration in one of the rooms of the palace at Eisgrub. Elisabeth Vigée-Lebrun, detail from “Portrait of Princess Karoline of Liechtenstein,“ 1793 21 Prince Alois I of Liechtenstein

Prince Alois I (1759–1805) always showed a great deal of interest in agriculture and in enlarging his estates. He also bought many books, increased the collection of paintings and was a patron of music and the theater. It was he who began the endeavor to redesign the area between Eisgrub and Feldsberg which was completed by his brother Prince Johann I.

The extensive parkland was enhanced with exotic plants from all regions of the world and adorned with the works of the architects Joseph Hardtmuth (1758–1816) and Joseph Korn- häusel (1782–1860): nature and architecture combined to form a harmonious ensemble.

Prince Alois I was responsible for altering and restoring the palace on Herrengasse where a famous library was situated. The collection of rare and precious books was regarded as the Eduard Ströhling, detail from “Portrait of Prince Alois I of Liechtenstein,“ 1794 “…and the Prince told me he had had The circumstances surrounding the painting of the portrait a pair of pretty little shoes placed can be found in the “Souvenirs,” the artist’s memoirs. Elisa- under the portrait which, as he told his beth Vigée-Lebrun, court painter of the French queen Marie grandparents, had just slipped off her Antoinette (1755–1793), had turned her back on Versailles as feet and fallen to the ground.” a result of the turmoil of the French Revolution and settled in Vienna, where she had a studio near the Schönbrunn Palace. Elisabeth Vigée-Lebrun in her memoirs, 1793 About the commission by Prince Alois I she wrote: The young Princess had a fine figure, her charming face had a sweet, second most important after the imperial counterpart and heavenly expression, which gave me the idea of depicting comprised over a hundred thousand volumes. In 1914, the her as Iris; I painted her full-length as if lifting into the air, contents were transferred to the Garden Palace before the with her sash in rainbow colors floating round her. building on Herrengasse was demolished. The artist also wrote that she had painted the Princess with Portrait of Princess Karoline of Liechtenstein bare feet, but when the painting was hung, the older members Elisabeth Vigée-Lebrun (1755–1842) painted two large-scale of the family had been offended that she had shown the Prin- portraits for the palace on Herrengasse in Vienna that was altered cess with no shoes. Consequently her husband placed a pair of and partially rebuilt by Joseph Hardtmuth between 1788 and shoes underneath the picture, as a humorous and elegant way 1792. Princess Maria Hermenegilde (1768–1865) was depicted of countering the criticism. as Ariadne on Naxos and Princess Karoline (1768–1831), the wife of Prince Alois I, as Iris, whose symbol was the rainbow in Greek mythology. Pieter Brueghel the Younger, detail from “The Census at Bethlehem,“ c. 1600/10 23 Prince Johann I of Liechtenstein

Prince Johann I (1760–1836) ended his military career in 1810 with the rank of Field Marshal and from then on dedicated himself to art and maintaining his estates. He continued the projects started by his brother, Prince Alois I, and completed the design of the landscaped garden between Feldsberg and Eisgrub. His passion for garden design led him to plant pine groves around the family seat at Hinterbrühl and he also laid out other parks on his estates.

Thanks to his involvement, the idea of transferring the picture gallery displaying the Princely Collection to the Garden Palace became a reality and in 1807 he opened the museum to inter- ested visitors. The park was also converted into a landscaped

“…probably the greatest aedile (responsible for public buildings in Johann Baptist Lampi, detail from “Portrait of Prince Johann I Ancient Rome) and horticulturalist not of Liechtenstein,“ 1816 only in his own country but among all his contemporaries…” The brothers worked in their father’s studio and were influenced by his compositions. While Jan Brueghel the Elder made a name Josef Haderer about Prince Johann I, 1829 for himself painting landscapes and still-life pictures of flowers, his brother followed in the footsteps of his father and emulated garden and opened to the Viennese people, boasting attrac- both his subjects and his style. Importantly, thanks to his copies tions such as the Belvedere by the Baroque architect Johann of his father’s pictures, an impression remains of some of the Bernhard Fischer von Erlach (1656–1723) that was still standing works that have since been lost. at the time, and greenhouses full of rare plants. With the Census painting, Pieter Brueghel the Younger copied Prince Johann I encouraged contemporary artists like Heinrich a work by his father that is still to be seen in Brussels and was von Füger (1751–1818), who painted portraits of his children, signed in 1566. There are supposed to have been more than ten and added many new acquisitions to the collection, including copies of that painting, an indication of the esteem in which it works by Old Masters. was held.

The Census at Bethlehem The Census at Bethlehem, described in Luke’s Gospel, takes Pieter Brueghel the Younger (1564–1638) and his brother Jan place in the setting of a snowy Dutch village. The detail of the Brueghel the Elder (1568–1625) were the sons of the famous painting is such that it tells a story about the everyday village Dutch artist Pieter Brueghel the Elder (c. 1525–1569), greatly scenes in which the protagonists Joseph and Mary, the latter celebrated for the insights he provided into the lives of country riding on a donkey, play a part. people and for his depictions of different traditions and seasons. Friedrich von Amerling, detail from “Portrait of Princess Marie Franziska of Liechtenstein at the age of two,“ 1836 25 Prince Alois II of Liechtenstein

Prince Alois II (1796–1858) of Liechtenstein had a preference for English culture and thus had two of his palaces redesigned in historical styles that were regarded as particularly elegant in Great Britain at the time: the palace in Eisgrub was rebuilt in neo-Gothic style, and the palace in Vienna’s town center in neo-Baroque style. Countless specialists in furniture, textiles and carpentry were employed on the interiors there for years, under the guidance of the British architect Peter Hubert Des- vignes (1804–1883). Michael Thonet (1796–1871) made the floors of the state rooms using the bentwood technique, for the first and only time. During the renovations, the family lived in the Palais Rasumofsky, the rooms of which were depicted in watercolors by the artist Rudolf von Alt (1812–1905), giving us

“He himself (...) a devotee of the arts, he did things on a large scale, and loved Friedrich von Amerling, detail from “Prince Alois II of Liechtenstein in the to make everything magnificent, just as regalia of the Order of the Golden Fleece“, 1845 perfect and complete as was possible for the artists and craftsmen of his day.” Marie Franziska was painted at the age of two, a peaceful image of a child sleeping. Her head is resting on a cushion, Jacob of Falke, librarian to the Prince, about Prince Alois II of Liechtenstein, 1882 her cheeks are slightly reddened, the curls playing round her face shine in the light and the Princess’s arm is holding an impression of the lifestyle of the Princely Family. The open- her doll tightly. The portrait is a particularly successful com- ing of the refurbished palace was celebrated in February 1847 position in which the artist has captured the peace and with a lavish ball, reported with eulogies in the Viennese press. contentedness of the delightful little girl extremely skillfully with his brush strokes. Prince Alois II was also very interested in the art of painting and allowed members of his family to be painted by the masters of A few years later, Peter Fendi (1796–1842) painted delicate the Biedermeier period not only in portraits but also in scenes watercolors of Princess Marie Franziska and her sister, Princess from everyday life. Karoline, at the Eisgrub palace, once again recording intimate moments in the lives of members of the Princely Family. Portrait of Princess Marie Franziska of Liechtenstein In 1836, Friedrich von Amerling (1803–1887) was commissioned to paint portraits of the children of Prince Alois II: Karoline, Sophie, the five-year-old Hereditary Prince and later Prince Johann II on a grey pony, and Marie Franziska (1834–1909). At that time the family were living in the Palais Rasumofsky while the palace in the town center was being renovated. Georg Ferdinand Waldmüller, detail from “Roses,“ 1843 27 Prince Johann II of Liechtenstein

Prince Johann II (1840–1929) dedicated himself to artistic affairs throughout his life. He added numerous acquisitions to the Princely Collection and donated high-quality works of art to Viennese art galleries, including the gallery of the Academy of Fine Arts. The City Museum in Vienna has the Prince to thank for its extensive collection of paintings from the Biedermeier

“For what purpose am I a prince, if I cannot give.”

Prince Johann II period. In purchasing, hanging and displaying the objects in his own palaces, he was advised by the Biedermeier artist Friedrich von Amerling (1803–1887) and the art historian Wilhelm von Bode (1845–1929). He also gave instructions for the holdings of the collection to be cataloged and the catalog John Quincy Adams, detail from “Portrait of Prince Johann II published. The furniture and objets d’art that he displayed in of Liechtenstein,“ 1908 the Garden Palace created a personal and intimate impression and reflected the Prince’s excellent taste. He had the Princely Reality was the model that served as the source for his inspi- Family’s castles in Vaduz and in Hinterbrühl near Vienna recon- ration. In this still-life with roses, Waldmüller combined rich structed in accordance with the historical style popular at the shades of pink with the green tints of the leaves and the reflective time, namely as show castles. surfaces of the precious silverware. His depiction of the differ- ent stages of fullness of the roses, from buds to heavy flowers, It is not only in his acquisitions, donations and support for scien- and the careful use of shadow, create an incredibly realistic tific research that the generosity of Prince Johann II can be seen; effect. Waldmüller remarked several times in his writings on his he also gave donations to charitable institutions, marking him special access to nature as a model: Nature is so rich, so diverse out as a true philanthropist. and transient that none other than the eye of a talented artist can discover such wealth and exploit such fullness. Roses Georg Ferdinand Waldmüller (1793–1865), one of the most well-known representatives of the Biedermeier period, created not only landscapes and genre scenes but also a great many still-life paintings. Having started his career as a miniaturist, he applied the same techniques to the detail of his paintings and he always painted exactly what he saw in nature. The play of the light on different surfaces and the intensity of the colors were always important elements in his compositions. 28 International presence

Europe Austria, Vienna, Salzburg Imprint Ireland, Dublin of Liechtenstein, Vaduz Masterpieces Switzerland, Basel, Berne, Chur, Davos, Geneva, LIECHTENSTEIN. The Princely Collections, Lugano, Pfaeffikon, Zurich Vaduz−Vienna United Kingdom, London Editorial team Australia/Oceania Australia, Sydney Birgit Schmidt, Art Historian, Vienna LGT Group Marketing & Communications Asia China, Beijing Hong Kong Japan, Tokyo Singapore

Middle East Bahrain, Manama United Arab Emirates, Dubai

America United States, New York Uruguay, Montevideo

A complete address list of all LGT locations can be seen at www.lgt.com Eduard Ströhling, detail from ”Portrait of Prince Alois I of Liechtenstein,“ 1794 LGT Bank (Switzerland) Ltd. Rue du Rhône 21, CH-1204 Geneva Phone +41 22 318 65 00, [email protected] www.lgt.ch 50277en 0515 1T BVD