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Kunstkammer Wien a Selection of Important KUNSTKAMMER WIEN A SELECTION OF IMPORTANT OBJECTS „Krumau Madonna“ Prague (?), c. 1400 Sandstone, cloak originally white and blue, hair and edge of clothes gilt Provenance: acquired in 1913 for the Imperial Collections Kunsthistorisches Museum, Kunstkammer, Inv-no. KK 10156 This sculpture was discovered around 1900 in Krumau in southern Bohemia. It is a perfect example of the „beautiful Madonnas“ so popular in the art around 1400. The Virgin with Child is shown as both the Queen of Heaven and a loving mother. Characteristics of courtly refinement, such as the rich and heavy drapery, idealised features and her gilt hair, are combined with verisimilitude, e.g. the body of the baby. This Gothic masterpiece is clearly informed by the art at the court in Prague. Salt Cellar (Saliera) Benvenuto Cellini (Florence 1500 – 1571 Florence) Paris, made between 1540 and 1543 Gold, partly enamelled; ebony, ivory, Provenience: from the Kunstkammer of Archduke Ferdinand II of Tirol at Ambras; presented to the Archduke by King Charles IX of France in 1570 Kunsthistorisches Museum, Kunstkammer, Inv-no. KK 881 The only extant goldsmith work by the celebrated Renaissance artist, Benvenuto Cellini, perfectly reflects the refined taste of contemporary courtly society. We know it served as a container for the expensive spices, salt and pepper, but the complex pictorial programme culminates in an allegory of the cosmos (complete with the god of the ocean and the goddess of the earth, animals, the four winds and the four times of the day) dominated by the arms and emblems of the patron who commissioned it, Francois I of France (ruled 1515-1547). Lapis lazuli dragon cup Gasparo Miseroni (c. 1518 – 1573) Milan, c. 1565/70 Lapis lazuli; setting: gold enamel, rubies, emeralds, pearls Provenance: from the Kunstkammer of Emperor Rudolf II in Prague Kunsthistorisches Museum, Kunstkammer, Inv-no. KK 1851 The Kunstkammer in Vienna houses one of the largest collections of glyptic art in the world. The focus is on cameos and display vessels carved in the 16th and 17th century in the workshops of the Miseroni in Milan and Prague, then the leading artists in this field. Sumptuous settings made of gold, enamel and precious stones helped enhance the splendour of these rare and therefore valuable hard-stones by turning them into spectacular show-pieces – of which this dragon cup is a wonderful example. Such display-pieces were among the most precious and prestigious objects in a princely Kunstkammer. Mercury Jean Boulogne, called. Giambologna (1529–1608) Florence, 4th quarter of the 16th century Bronze Provenance: from the Kunstkammer of Emperor Rudolf II in Prague Kunsthistorisches Museum, Kunstkammer, Inv-no. KK 5898 With his idea to depict Mercury airborne Giambologna transcended everything ever attempted by sculptors before him. As though weightless the messenger of the gods balances on the toes of his left foot, which barely seems to touch the floor. The audacious composition, perhaps Giambologna’s best-known, was frequently copied, and even the master himself repeated in a number of versions executed in different sizes. However, the Mercury in Vienna, signed on the flap of the hat just above the forehead, is undoubtedly the most successful version. Emperor Rudolf II Adriaen de Vries (1545–1626) Prague, 1603 Bronze Provenance: from the Kunstkammer of Emperor Rudolf II Kunsthistorisches Museum, Kunstkammer, Inv-no. KK 5506 Here Emperor Rudolf II is portrayed by his court sculptor, Adrian de Vries. The bust is supported by an eagle, the heraldic symbol of the Empire, Jupiter and Mercury, personifying the Emperor’s universal power and wisdom respectively, and an ibex – Capricorn, the sign of the Zodiac Rudolf had selected in homage to Augustus. Rudolf II moved his capital from Vienna to Prague; a lover of art, he called celebrated artists from all over Europe to his court. An inventory of the Imperial Kunstkammer in Prague compiled between 1607 and 1611 still tells of the incredibly rich holdings amassed by this connoisseur, perhaps the most important Habsburg collector ever. Ewer made from a Seychelles nut Setting: Anton Schweinberger (middle of the 16th century. – 1603) Reliefs on the nut: Nikolaus Pfaff (1556?–1612) Prague, 1602 Seychelles nut, partly-gilt silver, niello Provenance: from the Kunstkammer of Emperor Rudolfs II at Prague Kunsthistorisches Museum, Kunstkammer, Inv-no. KK 6872 This ewer perfectly illustrates a characteristic of 16th and 17th century Kunstkammer collections: the combination of art and nature. The silver setting crowned by Neptune, the god of the seas, and the subtle relief carvings of maritime deities on the nut are a reference to the assumed origin of Seychelles nuts, namely the ocean. Design and execution are clearly informed by contemporary painting and sculpture, goldsmith-work and carving. The ewer also illustrates perfectly the artistic atmosphere prevalent at the court of Rudolf II. A table automaton featuring Diana mounted on a Centaur Hans Jakob I Bachmann (active 1598 – 1651) Augsburg, c. 1598/1600 Silver partly gilt, enamel, pearls, garnets, ebony Provenance: from the Kunstkammer of Emperor Rudolf II at Prague Kunsthistorisches Museum, Kunstkammer, inv-no. KK 1166 This silver group combines the functions of a clock with those of a table automaton in the form of a drinking-game. A complicated mechanism located in the base and in the Centaur’s belly enables the group to roll across the table, Diana and one of the hounds to move their heads, the Centaur to roll his eyes and eventually to shoot an arrow. The guest in whose direction it was shot had to drain his cup. Such mechanical objects, clocks and automations were very popular in sixteenth and seventeenth century Kunstkammer collections. The exploits of Dom João de Castro The liberation of the Portuguese fortress of Diu Brussels, after 1557 (?) Tapestry: wool, silk, gold- and silver threads Provenance: old Imperial property Kunsthistorisches Museum, Kunstkammer, Inv-no. T XXII / 4 The Kunstkammer in Vienna comprises around 700 tapestries, making it the largest and most important collection of its kind in the world. This tapestry is from a ten-part series celebrating the exploits of Dom Joao de Castro, who as governor (from 1545) and then Viceroy (from 1548) helped expand and safeguard the Portuguese colony in India. The artist tried to do justice to this far-away country by including exotic motifs such as camels, emus and palm trees. Apollo and Daphne Jakob Auer (c. 1645 – 1706) Vienna, c. 1688/90 ivory Provenance: from the Imperial Treasury in Vienna Kunsthistorisches Museum, Kunstkammer, Inv-no. KK 4537 In his Metamorphosis Ovid tells how Diana saved the nymph, Daphne, from the unwanted attentions of Apollo by turning her into a laurel tree. Bernini’s celebrated statue in Rome formed the starting-point for this virtuoso ivory carving by Jacob Auer. The smooth perfection of the two bodies and the elaborate carving of foliage and drapery emphasise the decorative qualities of this show-piece, an almost perfect adaptation of the natural shape of an elephant’s tusk. Joseph I as Roman King mounted on a charger Matthias Steinl (1643/44–1727) Vienna, 1693 Signed and dated ivory Provenance: from the Imperial Treasury in Vienna Kunsthistorisches Museum, Kunstkammer, Inv-no. KK 4663 Together with its companion piece, the portrait of Emperor Leopold I mounted on a charger, the virtuoso carving of this equestrian statuette represents a high-point of Habsburg display. The aim of the group is to illustrate the divine power of the House of Habsburg and the continuity and renewal of the Imperium Romanum during the reign of the present and of the future Emperor. These ivory statuettes were always designed for display in the Kunstkammer. In 1715 they were first mentioned among the absolute highlights of the city. .
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