Kunstmuseum Liechtenstein

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Job Advertisement The Kunstmuseum Liechtenstein (Liechtenstein Museum of Fine Arts), which is organised as a foundation under public law, is the internationally-renowned museum of the Principality of Liechtenstein for the art of the 20th and 21st centuries. Along with several other museums in the heart of the Alps, it is characterised by the specialist profile of its content and its representative function. Since 2015, its offering has been enriched by the collection of the Hilti Art Foundation in an extension building. Starting from 1st July 2021, we are seeking a new Director at the Kunstmuseum Liechtenstein to succeed the current post holder, who is retiring. Director (m/f) We offer a committed and innovative individual a challenging remit with many creative possibilities. The profile of the role includes, in particular: ▪ Responsibility for the artistic and commercial management of the museum ▪ Maintenance, expansion and research of the collection ▪ Planning, conceptualisation and implementation of an imaginative and high-quality exhibition and publication programme at the international level ▪ Responsibility for the operation of the museum and its staff What we expect: ▪ A degree in history of art or an advanced level of expertise in modern and contemporary art with proven curatorial experience ▪ Experience and networking in the international museum environment ▪ Strong conceptual, communicative and organisational skills with team-based management experience in the museums sector ▪ Willingness to take up residence in Liechtenstein and to maintain contacts in the Rhine Valley region Please send your application byMarch 9, 2020 to www.jobs.leadershipservices.at Our consultant from Deloitte, Flora Kuras (+43 1 537 00 2536), will be pleased to respond to your questions. Deloitte, Renngasse 1, 1010 Vienna Städtle 32, P.O. Box 370 KUNSTMUSEUM 9490 Vaduz www.kunstmuseum.li LIECHTENSTEIN.

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THE BERNARD and MARY BERENSON COLLECTION of EUROPEAN PAINTINGS at I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls
THE BERNARD AND MARY BERENSON COLLECTION OF EUROPEAN PAINTINGS AT I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls GENERAL INDEX by Bonnie J. Blackburn Page numbers in italics indicate Albrighi, Luigi, 14, 34, 79, 143–44 Altichiero, 588 Amsterdam, Rijksmuseum catalogue entries. (Fig. 12.1) Alunno, Niccolò, 34, 59, 87–92, 618 Angelico (Fra), Virgin of Humility Alcanyiç, Miquel, and Starnina altarpiece for San Francesco, Cagli (no. SK-A-3011), 100 A Ascension (New York, (Milan, Brera, no. 504), 87, 91 Bellini, Giovanni, Virgin and Child Abbocatelli, Pentesilea di Guglielmo Metropolitan Museum altarpiece for San Nicolò, Foligno (nos. 3379 and A3287), 118 n. 4 degli, 574 of Art, no. 1876.10; New (Paris, Louvre, no. 53), 87 Bulgarini, Bartolomeo, Virgin of Abbott, Senda, 14, 43 nn. 17 and 41, 44 York, Hispanic Society of Annunciation for Confraternità Humility (no. A 4002), 193, 194 n. 60, 427, 674 n. 6 America, no. A2031), 527 dell’Annunziata, Perugia (Figs. 22.1, 22.2), 195–96 Abercorn, Duke of, 525 n. 3 Alessandro da Caravaggio, 203 (Perugia, Galleria Nazionale Cima da Conegliano (?), Virgin Aberdeen, Art Gallery Alesso di Benozzo and Gherardo dell’Umbria, no. 169), 92 and Child (no. SK–A 1219), Vecchietta, portable triptych del Fora Crucifixion (Claremont, Pomona 208 n. 14 (no. 4571), 607 Annunciation (App. 1), 536, 539 College Museum of Art, Giovanni di Paolo, Crucifixion Abraham, Bishop of Suzdal, 419 n. 2, 735 no. P 61.1.9), 92 n. 11 (no. SK-C-1596), 331 Accarigi family, 244 Alexander VI Borgia, Pope, 509, 576 Crucifixion (Foligno, Palazzo Gossaert, Jan, drawing of Hercules Acciaioli, Lorenzo, Bishop of Arezzo, Alexeivich, Alexei, Grand Duke of Arcivescovile), 90 Kills Eurythion (no.
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FRED SANDBACK Born 1943 in Bronxville, New York
This document was updated on April 27, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. FRED SANDBACK Born 1943 in Bronxville, New York. Died 2003 in New York, New York. EDUCATION 1957–61 Williston Academy, Easthampton, Massachusetts 1961–62 Theodor-Heuss-Gymnasium, Heilbronn 1962–66 Yale University, New Haven, Connecticut, BA 1966–69 Yale School of Art and Architecture, New Haven, Connecticut, MFA SOLO EXHIBITIONS 1968 Fred Sandback: Plastische Konstruktionen. Konrad Fischer Galerie, Düsseldorf. May 18–June 11, 1968 Fred Sandback. Galerie Heiner Friedrich, Munich. October 24–November 17, 1968 1969 Fred Sandback: Five Situations; Eight Separate Pieces. Dwan Gallery, New York. January 4–January 29, 1969 Fred Sandback. Ace Gallery, Los Angeles. February 13–28, 1969 Fred Sandback: Installations. Museum Haus Lange, Krefeld. July 5–August 24, 1969 [catalogue] 1970 Fred Sandback. Dwan Gallery, New York. April 4–30, 1970 Fred Sandback. Galleria Françoise Lambert, Milan. Opened November 5, 1970 Fred Sandback. Galerie Yvon Lambert, Paris. Opened November 13, 1970 Fred Sandback. Galerie Heiner Friedrich, Munich. 1970 1971 Fred Sandback. Galerie Heiner Friedrich, Munich. January 27–February 13, 1971 Fred Sandback. Galerie Reckermann, Cologne. March 12–April 15, 1971 Fred Sandback: Installations; Zeichnungen. Annemarie Verna Galerie, Zurich. November 4–December 8, 1971 1972 Fred Sandback. Galerie Diogenes, Berlin. December 2, 1972–January 27, 1973 Fred Sandback. John Weber Gallery, New York. December 9, 1972–January 3, 1973 Fred Sandback. Annemarie Verna Galerie, Zürich. Opened December 19, 1972 Fred Sandback. Galerie Heiner Friedrich, Munich. 1972 Fred Sandback: Neue Arbeiten. Galerie Reckermann, Cologne.
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As of January 1, 2020 the Leiden Collection Online Catalogue
As of January 1, 2020 The Leiden Collection Online Catalogue Bibliography VAN DER AA 1865 Van der Aa, Abraham Jacob. Biographisch Woordenboek der Nederlanden. 21 vols. Harlem, 1852–78. ACADÉMIE ROYALE DE BELGIQUE 1866 Académie Royale de Belgique. Exposition de tableaux de maîtres anciens. Exh. cat. Brussels, Académie Royale de Belgique. Brussels, 1886. THE ACADEMY OF ARTS 1925 The Academy of Arts. Gemälde alter Meister aus Berliner Besitz. Ausstellung in der Akademie der Künste. Exh. cat. Berlin, The Academy of Arts. Berlin, 1925 ACKLEY 2003 Ackley, Clifford S. Rembrandt’s Journey: Painter, Draftsman, Etcher. Exh. cat. Boston, Museum of Fine Arts; Chicago, Art Institute of Chicago. Boston, 2003. ADAMS AND HAVERKAMP-BEGEMANN 1988 Adams, Ann Jensen, and Egbert Haverkamp-Begemann. Dutch and Flemish Paintings from New York Private Collections. New York, 1988. AKADEMIE DER KÜNSTE 1925 Akademie der Künste. Gemälde alter Meister aus Berliner Besitz. Ausstellung in der Akademie der Künste. Exh. cat. Berlin, Akademie der Künste. Berlin, 1925. ALEXANDER-KNOTTER, HILLEGERS, AND VAN VOOLEN 2006 Alexander-Knotter, Mirjam, Jasper Hillegers, and Edward van Voolen. The “Jewish” Rembrandt: The Myth Unraveled. Exh. cat. Amsterdam, Joods Historisch Museum. Zwolle, 2006. Originally published as De “joodse” Rembrandt: De mythe ontrafeld. Zwolle, 2006. ALFRED BROD GALLERY 1957 Alfred Brod Gallery. Winter Exhibition. Sales cat. London, Alfred Brod Gallery. London, 1957. ALFRED BROD GALLERY 1963 Page 1 of 198 Compiled by A. McCarthy & C. Van Cauwenberge As of January 1, 2020 Alfred Brod Gallery. Annual Autumn Exhibition of Dutch and Flemish Paintings of the 17th Century. Exh. cat. London, Alfred Brod Gallery. London, 1963.
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The History of the Liechtenstein Garden Palace
THE HISTORY OF THE LIECHTENSTEIN GARDEN PALACE THE PRINCELY DEMESNE OF LICHTENTHAL In 1687 Prince Johann Adam Andreas I von Liechtenstein (1657–1712) purchased from the Auersperg family a parcel of land in the Rossau quarter, then outside the city walls of Vienna, which he subsequently enlarged by the acquisition of adjoining land. The area was to be developed as a self-contained model estate, which came to be known by the name of Lichtenthal and is one of the rare examples of large-scale Baroque urban planning in Vienna. The central north-south axis led from the kitchens, orangery and cour d'honneur , which was enclosed by stabling, via the palace as the nucleus of the complex, through the Baroque gardens to the Belvedere. Behind this was a model estate laid out on a grid around a church, the living of which was in the gift of the Liechtenstein family. The bounds of this extensive demesne were marked by a brewery. THE LIECHTENSTEIN GARDEN PALACE The Liechtenstein GARDEN PALACE in the Rossau quarter was commissioned around 1700 by Prince Johann Adam Andreas I von Liechtenstein, who was also responsible for a large number of major building projects in Bohemia and Moravia (including Feldsberg/Valtice and Eisgrub/Lednice) as well as the Liechtenstein CITY PALACE on Bankgasse in the centre of Vienna. The first architect engaged by the prince to design his GARDEN PALACE was Johann Bernhard Fischer von Erlach (1656–1723). However, the prince's predilection for the work of Italian artists soon brought him into contact with Domenico Egidio Rossi (1659–1715), a Bologna-trained architect.
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Codart Courant 8/June 2004
codart Courant 8/June 2004 codartCourant contents Published by Stichting codart P.O. Box 76709 2 A word from the director Rembrandt, their predecessors and successors: nl-1070 ka Amsterdam 3 News and notes from around the world 16th- to 18th-century Flemish and Dutch The Netherlands 3 Czech Republic, Prague, National drawings in Polish collections www.codart.nl Gallery: A birthday greeting to Hana 26 Krystyna Gutowska-Dudek, The Dutch Seifertová and Flemish paintings from the collection of Managing editor: Rachel Esner 4 France, Paris, Fondation Custodia Jan iiiSobieski housed in Wilanow Palace e [email protected] 4 Hungary, Budapest Museum of Fine Museum Arts 30 Wanda M. Rudzin´ska, The Tilman van Editors: Wietske Donkersloot, 6 Russia, St. Petersburg, State Hermitage Gameren archive in the print room of Gary Schwartz Museum Warsaw University Library t +31 (0)20 305 4515 7 codart zeven: Dutch and Flemish art 33 Study trip to Gdan´sk, Warsaw and f +31 (0)20 305 4500 in Poland Kraków, 18-25 April 2004 e [email protected] 8 Congress, Utrecht, 7-9 March 2004 39 Rulers of Poland, 14th-18th century 13 Antoni Ziemba, The Low Countries and 39 Index of Polish individuals and families codart board Poland: a history of artistic connections 40 Website news Henk van der Walle, chairman 16 Hanna Benesz, Early Netherlandish, 41 Appointments Wim Jacobs, controller of the Instituut Dutch and Flemish paintings in Polish 41 codartmembership news Collectie Nederland, secretary- collections 42 Museum list treasurer 19 Joanna Tomicka, Dutch and Flemish prints 48 codartdates Rudi Ekkart, director of the Rijksbureau in major Polish collections Preview of upcoming exhibitions and other voor Kunsthistorische Documentatie 23 Maciej Monkiewicz, Rubens and events, June-December 2004 Jan Houwert, chairman of the Board of Management of the Koninklijke Wegener N.V.
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A Wooded Landscape with Travellers by the Swan Inn and at Another Inn
Jan van Goyen (Leiden 1596 - The Hague 1656) A Wooded Landscape with Travellers by the Swan Inn and at another Inn Opposite Circa: 1649 signed with monogram and dated ‘VG 1649’ (lower left) oil on panel 27.8 x 37.8 cm (11 x 14⅞ in) The enchanting rusticity of A Wooded Landscape with Travellers by the Swan Inn and at another Inn Opposite is immediately apparent. Two inns face each other across a wide road, while outside local travellers, merchants and villagers mill around carrying out their daily activities. On the right, the Swan Inn - identified by a sign hanging from the wall - is bustling with activity. A cart stationed outside is filled with sitting and standing figures who appear to be watching something unseen by the viewer. To the left of a water pump, several figures chat amongst themselves. On the opposite side of the road, another inn - the sign possibly showing a crescent moon - is equally busy. A line of horses quench their thirst from a series of troughs while a cart and figures gather outside. To the left of the composition, under a tall, gnarled oak tree, three figures wait outside a church. Placed beside the seated figure, who wears a black hat, is a white sack possibly identifying the group as itinerant travellers. The landscape is open and far reaching. In the distance a church spire can just be made out from behind a group of trees that pepper the horizon and the viewer gets a clear sense that these inns are a key post of relaxation and refreshment along a busy rural route.
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Copyrighted Material
17_100516 bindex.qxp 3/16/07 9:24 PM Page 234 Index See also Accommodations and Restaurant indexes, below. GENERAL INDEX Tulln, 195–196 American Foundation for the Westbahnhof (15th Blind (AFB), 21 District), 79 Andau, 208 AARP, 23 what’s new in, 1–3 The Anschluss, 218 Abbey Heiligenkreuz (Abbey of Wieden and Margareten (4th Antiques, 162–163 the Holy Cross), 187 & 5th Districts), 71–72 Arcadia Opera Shop, 166 Abbey of Dürnstein, 221 Wiener Neustadt, 193 Architecture, 220–223 Abercrombie and Kent, 32 Active pursuits, 137–140 Art, 223–225 Above and Beyond Tours, 22 Addresses, finding, 38 Art museums Access-Able Travel Source, 21 A. E. Köchert, 165 Albertina, 110–111 Access America, 19 Agatha Paris, 165 Barockmuseum (Museum of Accessible Journeys, 21 Airfares Baroque Art), 124 Accommodations, 49–80. See surfing for, 24–25 Ephesos-Museum (Museum of also Accommodations Index tips for getting the best, Ephesian Sculpture), 115 agencies, 49 28–29 Gemäldegalerie der Akademie airport, 80 Airlines, 27–28, 34 der Bildenden Künste Alsergrund (9th District), bankrupt, 19 (Gallery of Painting and 77–78 Airport, 34 Fine Arts), 120, 149 Baden bei Wien, 191–192 getting into town from, 28 Kunsthalle Wien, 116 best, 7–8 hotel, 80 Kunsthistorisches Museum Eisenstadt, 203 security procedures, 27, 28 (Museum of Fine Arts), family-friendly, 72 Air Tickets Direct, 29 120–121 Forchtenstein, 211 Akademie der Bildenden Leopold Museum, 116–117 Hinterbrühl, 186–187 Künste (Fine Arts Academy), Liechtenstein Museum, Illmitz, 208–209 120, 149 121–122 Innere Stadt (Inner
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Codart Courant 10/June 2005 2
c o d a r t Courant 10/June 2005 codart Courant contents Published by Stichting codart p.o. Box 76709 2 A word from the director 9 Serbia, Introducing the graphic nl-1070 ka Amsterdam 3 A new board member introduced collection of the National Museum in The Netherlands 3 codart appoints new director Belgrade, Dragana Kovačić [email protected] 4 New members of the Program Committee 10 Ukraine, Introducting the collection www.codart.nl introduced of the Bogdan and Varvara Khanenko 4 Introducing the Website Committee Museum of Art in Kiev, Olena Zhivkova Managing editor: Rachel Esner 5 News and notes from around the world 13 usa, An exhibition project on Jan E [email protected] 5 Germany, Plans for the Suermondt- Provoost, Ron Spronk Editors: Wietske Donkersloot Ludwig-Museum in Aachen, 13 Publication news and Gary Schwartz Peter van den Brink 14 codart activities in 2005 T +31 (0)20 3054 515 5 Germany, News from the 14 Congress report codart acht F +31 (0)20 3054 500 Gemäldegalerie Alte Meister in 16 Workshop reports codart acht E [email protected] Kassel, Gregor J.M. Weber 19 Dutch and Flemish art in Sweden: an Translations: Laura Watkinson 6 Ireland, Introducing the collection overview of the National Gallery in Dublin, 25 Appointments codart board: Adriaan E. Waiboer 26 Museum list Henk van der Walle, chairman 7 Netherlands, Rembrandt 400 in 2006, 32 codart dates Wim Jacobs, controller of the Instituut Bob van den Boogert 32 Preview of upcoming exhibitions and Collectie Nederland, secretary- 8 Poland, Events in Poland in 2004, other events June–December 2005 treasurer Hana Benesz Greetje van den Bergh, director of the Vlaams-Nederlands Huis deBuren, Brussels Rudi Ekkart, director of the Rijksbureau voor Kunsthistorische Documentatie Jan Houwert, chairman of the Board of Management of Koninklijke Wegener n.v.
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Property from the Collection of the Princely House of Liechtenstein
Contact: Maarten van Gijn / Stephanie Manstein [email protected] / +31 20 57 55 262 [email protected] / +44 20 7389 2962 PROPERTY FROM THE COLLECTION OF THE PRINCELY HOUSE OF LIECHTENSTEIN 450 lots of furniture, paintings, clocks, sculpture, tapestry and works of art from the only surviving Principality of the Holy Roman Empire – At Christie’s Amsterdam on 1 April 2008 Exterior shot of the Princely Castle in Vaduz Interior of the LIECHTENSTEIN MUSEUM Preview of the Liechtenstein sale viewing in Vienna, origin of several interior lots at Westergasfabriek in Amsterdam Amsterdam – Christie’s announces that property from the private collection of the Princes of Liechtenstein will be sold in Amsterdam on Tuesday 1 April 2008. Over five centuries of European art history are represented in the 450 lot strong sale of furniture, paintings, clocks, sculpture and tapestry, with estimates ranging from €300 to €300.000. This important and historic sale of selected art objects allows one of Europe’s oldest families to further invest in the many works of art which will remain in their private collection. “My family has been collecting art for over 400 years and was able to establish one of the most important private collections in the world. Over the centuries we accumulated thousands of objects, many on display at the LIECHTENSTEIN MUSEUM in Vienna, others being used to decorate our family homes. We have been unable to place many other works, which is why we have decided to part with 450 objects. My sincere hope is that Christie’s will find new homes for these objects and that their owner will enjoy them as much as my family did,” said H.S.H.
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Czech–Liechtenstein Relations Past and Present
1 Peter Geiger – Tomáš Knoz – Eliška Fučíková – Ondřej Horák – Catherine Horel – Johann Kräftner – Thomas Winkelbauer – Jan Županič CZECH–LIECHTENSTEIN RELATIONS PAST AND PRESENT A summary report by the Czech-Liechtenstein Commission of Historians Brno 2014 2 CONTENTS A Word of Introduction Foreword I. Introduction a. The Czech-Liechtenstein Commission of Historians and its activities 2010–2013 b. Sources, literature, research, methodology II. The Liechtensteins in times of change a. The Middle Ages and the Early Modern Age b. The 19th Century c. The 20th Century III. Main issues a. Sites of memory and constructing a historical image of the Liechtensteins b. The Liechtensteins and art c. Land reform and confiscation IV. Conclusions a. Summary b. Outstanding areas and other possible steps V. Prospects VI. A selection from the sources and bibliography a. Archival sources b. Source editions c. Bibliography VII. Workshops and publications by the Commission of Historians a. Workshops b. Publications by the Czech-Liechtenstein Commission of Historians Summary Zusammenfassung Index 3 A Word of Introduction This joint summary report by the Czech-Liechtenstein Commission of Historians represents an important milestone in the relations between both of our countries. On the one hand, the Commission of Historians examined the joint history of Bohemia, Moravia and Silesia, as well as the House of Liechtenstein, while on the other, they looked at the relations between both our countries in the 20th century. The commission's findings have contributed greatly towards better mutual understanding and have created a valuable basis for the continued cooperation between the two countries. The depth and thoroughness of this three-year work by the Commission of Historians is impressive, and this extensive publication sheds light on the remarkable and still visible mark that the House of Liechtenstein left behind on Bohemia, Moravia and Silesia.
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April 2010 Newsletter
historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 27, No. 1 www.hnanews.org April 2010 Hans von Aachen, The Fall of Phaeton, c. 1600. Kunsthistorisches Museum, Vienna, on loan to Schloss Ambras In the exhibition Hans von Aachen (1552-1615), Hofkünstler in Europa, Suermondt-Ludwig Museum, Aachen, March 11 – June 13, 2010; Prague Castle Gallery, July 1 – October 3, 2010; Kunsthistorisches Museum, Vienna, October 19, 2010 – January 9, 2011. © KHM HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Ofﬁ cers President - Stephanie Dickey Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Board Members Dagmar Eichberger Contents Wayne Franits Matt Kavaler HNA News ............................................................................1 Henry Luttikhuizen Personalia ............................................................................... 2 Shelley Perlove Exhibitions ............................................................................ 3 Joaneath
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Dutch and Flemish Art: the Golden Age
Dutch and Flemish Art: The Golden Age The Library of Walter A. Liedtke Curator of European Paintings at the Metropolitan Museum of Art Part I: Dutch and Flemish Art Part II: European Art 2118 titles in circa 2300 volumes From Wikipedia, the free encyclopedia Walter Liedtke Walter Liedtke Walter Arthur Liedtke, Jr. Born August 28, 1945 Newark, New Jersey US February 3, 2015 (aged 69) Died Valhalla, New York US Residence Bedford Hills, New York Nationality United States Occupation Art historian, writer, curator Years active 1974–2015 Walter Arthur Liedtke, Jr. (August 28, 1945 – February 3, 2015) [1] was an American art historian , writer and Curator of Dutch and Flemish Paintings at the Metropolitan Museum of Art .[2] He was known as one of the world's leading scholars of Dutch and Flemish paintings. [1] He died in the 2015 Metro-North Valhalla train crash .[3] Early life Liedtke was born in Newark, New Jersey ,[4] and grew up in Livingston, New Jersey .[4] Liedtke studied Art History , receiving a Bachelor of Arts degree in 1967 from Rutgers University in New Brunswick, New Jersey , a Master of Arts degree in 1969 at Brown University in Providence, Rhode Island. [5] Liedtke said that his interest in Dutch paintings began because he was focused on images as a child from hours and hours of watching a lot of TV. [6] He described his aesthetic as that of having a focus on how he responded to visual patterns compared to a more typical perspective focused on story and narratives. [6] Career Academia Liedtke planned on a career in academia.
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