en EDITOR Dr. Sabine Haag Introduction Many people love to collect things, but only a Director-General select few of these collections remain intact Wien over decades or over the centuries. We are ex- Burgring 5, 1010 tremely fortunate that one of them was the © 2014 KHM high-quality collection assembled by Archduke Authors: Leopold Wilhelm (1614–1662). To celebrate the Gerlinde Gruber (Baroque Installation, 25, 28, 31) 4ooth anniversary of his birth the Kunsthisto­ Barbara Herbst (10, 21, 19, 34) risches Museum Vienna is presenting a selection Rotraut Krall (4, 5, 6, 14, 15, 21, 38, 39) of works from his collections, which comprise Manuela Laubenberger (13) a seminal part of the museum’s holdings. Konrad Schlegel (7, 8, 9, 35, 36, 37)

Renate Schreiber (Introduction, 1) W The artefacts assembled in our Special Exhibi-

LD IL

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Agnes Stillfried (2, 3, 18, 22, 24) P E tion Gallery document the depth and breadth

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Francesca del Torre Scheuch (16) of the Archduke’s collection. In addition, other E

L Daniel Uchtmann (20, 26, 29, 33) S works from his collection now displayed in the A T Karoline Zhuber-Okrog (12) M S Kunstkammer and the Picture Gallery are iden- A Passion for Art A Passion for Art M L U E L Andreas Zimmermann (23, 27, 30, 32) tified by a special label; the Coin Collection has English translations: Agnes Stillfried installed a special vitrine. Look out for objects collected by the Archduke PARTNERS in the different collections – it’s worth it!

OPENING HOURS June 17 – September 28, 2014 Tue – Sun, 10 a.m. – 6 p.m.; Thurs 10 a.m. – 9 p.m. June – August open daily! 17. june 2014 to 28. september 2014 David Teniers the younger, Archduke Leopold Wilhelm in his Gallery in , c. 1650, canvas ■ 0.5 1 ■ ■ Kunstkammer Vienna Kunstkammer  itr Gallery Picture Picture Gallery Picture

30 35 28 27 31 32 29 36 34 26 39 37 38 25 33 24 1 to 17 18 ■

Specialexhibition 23 »A PassionforArt« 20 19 21 : 22 RISCHES MUSEUM THE KUNSTHISTO­ GREETINGS FROM CATALOGUE EXHIBITION lecture room Fri Sept. 12, 4 p.m. LECTURES Lectures L unchtime

Museum Shop. address. Justdropitintothepost boxinthe We willpostthispostcardforyoutoanEU € 14,95 978-3-99020-071-1 ISBN pages, German brochure, 112 Sabine Haag(ed.) Caravaggio inthesouthernNetherlands. Jordaens, Rubensandthe receptionof art.Shehaspublished onFlemish baroque lance arthistorian,herresearch focusison Joost Vander AuweraandJustusLange.Afree- daens unddieAntike inBrussels/Kasselwith daens and helped curate the exhibition Jor Irene Schaudies wroteherPhDonJacobJor- Wilhelm andJacob Jordaens Dr. IreneSchaudies, Archduke Leopold gotowww.khm.atFor details p.m.July–August.12.30 Tuesferent worksintheexhibitionevery at Short Lunchtime LecturesinGermanondif- -

David Teniers inBrussels,c.1650,©KHM jun., LeopoldWilhelm inhisGallery

postage to an EU address paid by KHM

www.khm.at in the Special 1 Frans Luycx Exhibition Erzherzog Leopold Wilhelm Gallery 2 Attributed to Alessandro Abondio Portrait Medal 3 Jan Davidsz de Heem The Eucharist with Fruit Garlands

4 Augsburg Two Matchlock Pistols 5 David Teniers the younger The Brussels Popinjay

6 Leonhard Kern Scene from the Thirty Years’ War

7 Leonhard Kern Abundantia

8 Pier Jacopo Alari de Bonacolsi, called Antico Atropos

9 Dionysio Miseroni Shell-shaped Bowl

10 Florence L’Arrotino (the Grinder) 11 Italian Ushabti 12 Roman Magical Cameo

13 Roman Emperor Lucius Verus

14 Balthasar Herold, Johann Philipp Barth Archduke Leopold Wilhelm 15 David Teniers the younger 29 Joachim von Sandrart Minerva and Saturn Protecting Science and the Arts from Envy and 16 The »Baroque« Installation Falsehood 17 David Teniers the younger 30 Christopher Paudiß Archduke Leopold Wilhelm in his St. Jerome Gallery in Brussels 31 Stormy Landscape with Jupiter, in the Picture 18 Tiziano Vecellio, called Mercury, Philemon and Baucis Gallery Jacopo Strada 32 Peter Paul Rubens 19 Head of Medusa The Virgin and Child with Saints

20 Jacopo Robusti, called in the Kunst­ 33 Anonymous artist Portrait of a Bearded Man kammer Gregory the Great with Scribes 21 Raffaello Santi, called 34 Pier Maria della Pescia Serbaldi, called St. Margaret Tagliacarne 22 Giorgio da Castelfranco called Polyhymnia 35 Master of the Decorated Box tops 23 Two Circular Box tops Pietà 36 Pier Jacopo Alari de Bonacolsi, called Antico 24 Jan van Eyck Hercules and Antaeus Cardinal Niccolò Albergati 37 Leonhard Kern 25 Pensive Christ Hunters in the Snow (Winter) 38 Gottfried Libalt 26 Still Life with a Bust of Archduke Samson and Delilah Leopold Wilhelm Frans van Mieris the elder 27 39 Attributed to Gentleman in a Shop Allegory celebrating Archduke 28 Jacob Jordaens Leopold Wilhelm (1614 —1662) The Bean King 1 Archduke Leopold Wilhelm was born on Janu­ In 1648 the Peace of Westphalia concluded ary 5, 1614 at Wiener Neustadt as the young- the Thirty Years’ War, but Spain and France est son of Archduke, later Emperor Ferdinand remained at war. This meant the Archduke Frans Luycx ( II and his wife Mary of Bavaria. continued under military orders. 1604–1668 Vienna)

Archduke As a younger son he was destined for a career For many years the Netherlands had served Leopold Wilhelm in the Church. Here Franz Luycx portrays the as Europe’s centre for the art trade. As a re- (1614–1662) in blond prince in ecclesiastical robes aged about sult of the English Civil War, a number of out- Ecclesiastical 22. The Archduke appears sensitive and some- standing collections came onto the market. Robes what melancholic, and we know that he was Advised by his court painter Jan van den unhappy about being elected bishop (of, Hoecke, Leopold Wilhelm gladly used this op- c. 1638 among others, Passau and Strasbourg) and be- portunity to acquire many important works. canvas, 85 x 56 cm coming Grand Master of the Teutonic Order. When van den Hoecke’s died, he was succeed- inv.no. GG 2754 Twice – in 1639 and in 1645 – his brother, Em- ed by David Teniers the younger, whose pic- peror Ferdinand III, appointed him command- tures of the masterpieces assembled by the er of the Imperial army during the Thirty Archduke helped to publicise the latter’s col- Years’ War. Despite his lack of military train- lection. ing Leopold Wilhelm approached this assign- ment with enthusiasm; sadly, his military car­ At his own desire Leopold Wilhelm ended his eer was not very successful. tenure in 1656 and returned to Vienna. Six months later his brother Emperor Ferdinand In April 1647, Leopold Wilhelm travelled to III was dead. Following a difficult election, Brussels as Governor of the Spanish Nether- Ferdinand’s nineteen-year-old son, Leopold I, lands (more or less modern-day Belgium and was elected Emperor. Leopold Wilhelm and Luxemburg) for his cousin, King Philip IV of his nephew were on excellent terms, and he Spain, an assignment fraught with difficulties. became Leopold’s trusted advisor. He was accompanied by his chamberlain and confidant, Count Johann Adolph von In 1658 the top floor of Palace was Schwarzenberg. adapted to house the Archduke’s extensive collection. Anton van der Baren, the director of his picture gallery, was in charge of the 2 Through his travels and exalted rank Leopold building work, and in 1659 compiled an inven- Wilhelm was familiar with medals and coins tory of all the artworks. as artistic media. It is remarkable, however, Attributed to that most of his medals were intended as gifts Alessandro Abondio In 1661 the painter Frans Geffels wrote enthu- (1570/80–1648) or honours. siastically about his visit to Stallburg Palace: »the Archduke took over four hours to show Portrait Medal The obverse of this »gift medal« features the me round the collection, explaining and lis- (Gift Medal) of Archduke’s bust-portrait in ecclesiastical tening as we walked […] I believe there is no Leopold Wilhelm robes, its reverse a lion and a lamb beneath a place in Italy with so many (paintings) this cross; the crossbar is decorated with a bride, undated (after 1641) beautiful.« laurel branches and the Eye of Providence. gold (minted), 42.5 mm, 35.14 g (equals 10 The image’s meaning is not easy to decipher. On November 20, 1662 Leopold Wilhelm died ducats), broken loop The lamb may be identified as the agnus dei, in Vienna. He left some of his tapestries to inv.no. MK 2545bβ or it may represent justice; the lion stands for his friend Count Schwarzenberg, but his paint- bravery, and the bridle for moderation; the ings – »what I love most among my estate« – laurels refer either to faith or to victory. We expressly to his nephew, Emperor Leopold I. may assume that this is an allegorical render- A large share of his collection still forms a ing of the Archduke’s virtues that culminates seminal part of the celebrated collections of in his personal device »TIMORE DOMINI« (in the Kunsthistorisches Museum Vienna. fear of the Lord).

// in the Special Exhibition Gallery // in the Special Exhibition Gallery 3 In 1648 De Heem painted this ecclesiastical 4 Popinjays were among the traditional enter- still-life for Leopold Wilhelm, whose person- tainments organized by the St. George’s Har- al device Timore Domini (in fear of the Lord) quebusiers Guild in Brussels. In 1651 Arch- Jan Davidsz de Heem David Teniers the reflected both his personal piety and his many duke Leopold Wilhelm participated, follow- (Utrecht 1606–1683/1684 younger (Antwerp Antwerp) ecclesiastical offices. At the early age of eleven 1610–1690 Brussels) ing in the footsteps of one of his predecessors, he was elected Bishop of Passau, the first of Archduke Albrecht. Attended by all the Har- The Eucharist many bishoprics. A speciality of Flemish bar­ The Brussels quebusiers, numerous representatives of the with Fruit oque painters, ecclesiastical still-lifes were Popinjay city and many onlookers, the Governor Garlands promoted by the Jesuits as an effective Coun- knocked the artificial bird off its perch, which inscribed on the left ter-Reformatory device. This glorification of reached up to the ridge turret of the church dated 1648 below the carriage the Eucharist combines the sensual enjoyment of Our Lady. Standing on the estrade in the canvas, 138 cm x 125,5 horses: DAVID. cm x 2,5 cm of verisimilitude with Christian symbolism: TENIERS. FEC AV 1652; centre of the composition, Leopold Wilhelm inv.no. GG 571 chalice and host surrounded by an aureole dated 1652 – still clutching his crossbow and the only are framed by fruits and flowers symbolizing gentleman­ wearing a hat – is being congratulat­ canvas, 172 x 247 cm death and resurrection: the poppies, for ex- inv.no. 756 ed for his shot. Teniers brilliantly combines ample, represent the Passion, the cherries sin different genres and aspects such as history and its conquest, the ears of corn and the painting, portraiture, genre painting and es- grapes the bread and wine of the Eucharist, pecially the courtly display of authority. and the butterfly the resurrected soul.

// in the Special Exhibition Gallery // in the Special Exhibition Gallery 5 During the Thirty Years’ War pistols were part 6 A confidently striding officer has stabbed a of the basic equipment of the heavy cavalry. naked young woman in the back and twisted In battle their concentrated attack aimed to her arm onto her back while directing his Augsburg Leonhard Kern break enemy lines and put them to flight. This scornful and feisty gaze at the spectator. The (1588–1662) pair of pistols belonged to Archduke Leopold girl’s face shows no signs of pain. The three Two Matchlock Wilhelm. It was first described in his 1660 in- roses on the officer’s baldric identify him as Pistols Scene from the ventory: »a Netherlandish pair of matchlock Thirty Years’ War Reinhold von Rosen, a Livorian aristocrat middle of the 17th pistols, the handles with tortoises, which His who fought with the French in the Thirty century Imperial Highness was given by Count For- Schwäbisch Hall, before Years’ War and participated in the sack of engraved iron, engraved 1659 gätsch at Bratislava«. Note the pistols’ elegant Schwäbisch Hall. The exceptional contempor­ brass, mother of pearl, alabaster, h. 34.3 cm each l. 71,5 cm, simplicity and the precious materials used. inv.no. KK 4363 ary scene depicted in this alabaster group is H. 15 cm, T. 5 cm The barrels were made in Augsburg and are probably an allegory on the danger faced by inv.no. HJRK A 1470, decorated with red-and-black mother-of-pearl; Schwäbisch Hall. Then a burgher of this city, A 1471 the matchlocks are engraved; the fittings are Leonard Kern may have been commissioned made of gilt brass. by the Archduke himself. As the imperial com- mander he was the adversary of Reinhold von Rosen and probably regarded himself as the – figuratively speaking – protector of the im- perial city.

// in the Special Exhibition Gallery // in the Special Exhibition Gallery 7 This classical goddess clutching a cornucopia 8 Atropos, one of the Three Fates, is the one was carved from the tip of a walrus tusk, part who cuts each mortal’s thread with her scis- of which is still firmly embedded in the ani- sors. She once held the latter in her right, and Leonhard Kern Pier Jacopo Alari de mal’s jawbone. The figure seems to grow out a distaff in her left hand. This high-quality (Forchtenberg 1588–1662 Bonacolsi, called Antico Schwäbisch Hall) of the brittle material, reflecting the juxta­ (Mantua, c. 1460–1528 statue was one of several bronzes by the Man- position of nature and art so beloved of Kunst­ Gazzuolo) tuan Renaissance sculptor Antico (for more Abundantia kammer collectors in the 16th and 17th century. works by him see Gallery 33 of the Kunstkam- This remarkable artefact was in the collec- mer) installed in the so-called Kunstkammer Schwäbisch Hall, Atropos tion of Leopold Wilhelm even before he be- of Leopold Wilhelm at Vienna’s Stallburg Pal- c. 1635/45 Walrus tusk, h. 37.7 cm came Governor of the Spanish Netherlands. Mantua, c. 1519 ace. After the Archduke’s return from Brus- inv.no. KK 4547 Before leaving Vienna for Brussels in 1647 the bronze, h. 32 cm sels in 1656, his now enormously enlarged col- Archduke commissioned an inventory of his inv.no. KK 5545 lection was divided: the larger part was in- collection in which it is listed. The inventory stalled at Stallburg Palace – the 1659 comprised around 470 objects: most of them inventory lists 1397 paintings, 343 drawings are reliquaries and other religious artefacts and 542 sculptures, small statues and other but it also contained scientific instruments Kunstkammer objets d’art. In addition, Leo- and exotic objects. This shows us that his then pold Wilhelm installed his so-called Treasury still quite small collection bore the rudiments in the Amalienburg wing of Palace, of an encyclopaedic Kunstkammer collection. which probably contained over 800 precious artefacts (see next exhibit).

// in the Special Exhibition Gallery // in the Special Exhibition Gallery 9 This and other vessels cut from rock crystal 10 A man has knelt down to grind his knife on by the imperial stone-cutter Dionysio Misero- a stone; but instead of focusing on his knife ni were housed in the so-called Treasury of he has raised his pained face to gaze at some- Dionysio Miseroni Florence Leopold Wilhelm in the Amalienburg wing of one. This someone is Marsyas, whose flaying ( c. 1607–1661 Prague) Hofburg Palace in Vienna. Inventoried in L’Arrotino (the Apollo has ordered. The latter is missing but 1660, the collection comprised a total of 814 Grinder) was originally part of the original Hellenistic Shell-shaped artefacts and included his precious reliquar- reduction of group. The Romans frequently copied some an ancient ori­ Bowl ies, clocks and silver plates. The so-called Kun- of the figures of this impressive bronze group. ginal stkammer in Stallburg Palace housed all his A number of life-size marble copies of Marsyas Prague, 1656/57 narrative, figurative artefacts, while the Treas- 2nd half of the 16th have survived, but only a single copy of the rock crystal, h. 7.1 cm, l. century th 13.1 cm, w. 7.9 cm ury in the Amalienburg wing contained grinder – discovered in Rome in the early 16 bronze, h. 25.8 cm inv.no. KK 1420 non-figurative artworks. This conceptual and century and on show in the Uffizi Galleries inv.no. KK 5760 physical division of a princely collection into since 1680 – is known. Various 16th and 17th »figurative art« and a »treasury« documents century artists produced copies, versions and the rejection of the traditional idea of an en- sketches of it. It also served as the model for cyclopaedic Kunstkammer, heralding the new this small sculpture; with it, Leopold Wilhelm organization of the Habsburg holdings, which owned at least a reduced copy of a then were installed in smaller specialized collec- much-discussed work. tions with the onset of the Age of Enlighten- ment in the 18th century.

// in the Special Exhibition Gallery // in the Special Exhibition Gallery 11 It is at first surprising to find a figure like this 12 Sadly, we have so far not been able to identi- one in Leopold Wilhelm’s collection because fy the small classical artefacts listed in Leop- Europe’s love of all things Egyptian began old Wilhelm’s inventory, which records them Italian Roman much later. However, small ancient Egyptian in general rather than carefully-detailed terms. artefacts already circulated in the 17th cen- However, one small sub-group can be identi- Ushabti Magical Cameo tury and were regarded as worthy of being in- fied: cameos from the 2nd and 3rd century AD c. 1650? cluded in princely collections, although this Ouroboros and magical featuring magical-occult images. In classical bronze, h. 13.1 cm did not happen often. At first glance, this ush- inscriptions antiquity they served as amulets and talismans. inv.no. KK 5858 2nd century abti appears genuine. We can make out some This genre was first published by the Arch- chalcedony, h. 2.2 cm hieroglyphs even if not all of them are legible. inv.no ANSA IXb 1230 duke’s private physician Johannes Chifletius However, in Ancient Egypt ushabti were never­ (1588–1660); he included origins, descriptions made of bronze. The figure – together with and engravings of four stones in the arch­- the base on which the original was mounted ducal collection: three magical cameos and a – was probably cast from a genuine ushabti. phalera, a Roman military decoration. Their Bronze casts were often used to copy images – demonic composite creatures, assem- sought-after but rare ancient originals; these blies of deities, a serpent eating its own tail life-size or reduced copies were welcome ad- (ouroboros, a symbol of eternity), or magical ditions to princely collections. inscriptions – encouraged learned discourse.

// in the Special Exhibition Gallery // in the Special Exhibition Gallery 13 This ancient Roman bust was first identified 14 This bronze bust depicts the Archduke in his in the inventory of the Collection of Greek favourite pose as supreme commander and and Roman Antiquities and on Teniers’ paint- Grand Master of the Teutonic Order. Emperor Roman Balthasar Herold (1625– ing of Leopold Wilhelm’s gallery in Brussels Ferdinand III, Leopold Wilhelm’s elder brother, 1683), Johann Philipp (inv.no. GG 739, also on show in this exhibi- commissioned bronze sculptures for his Portrait Bust of Barth (1657–1657) tion) in 1875. But the reason for its prominent Kunstkammer collection from Balthasar Her- Emperor Lucius position between Leopold Wilhelm and Te- old, among them such a bust. The work is at- Verus Archduke niers was discovered only recently: the bust Leopold Wilhelm, tributed to Herold because he is named in a nd middle of the 2 century was believed to depict Marcus Aurelius, the Bust then still unpaid receipt dated to the time of marble, h. 100 cm “philosopher king” much admired by Human- the Emperor’s death (†1657). Herold based his inv.no. ANSA I 115 ists. It is no accident that the bronze eques- Vienna, 1657 work on a signed and dated (1650) marble bust bronze, H. 69.5 cm trian statue of Leopold Wilhelm (inv.no. KK by the Flemish sculptor Jérôme II Duquesnoy inv.no. KK 8930 6002) modelled on Marcus Aurelius’ celebrat- (on show in the Kunstkammer, Gallery 23). ed equestrian statue on the Capitol in Rome Duquesnoy employs a stately-aloof pose to is depicted on the table on the left. great effect to create a formal and aristocrat- ic composition that almost rivals van Dyck’s In a print from 1660 (in the so-called Thea- painted portraits. Herold brilliantly trans- trum Pictorium) the bust is also displayed posed this baroque-classical inclination into prominently. For Leopold Wilhelm antiques bronze. obviously functioned not only as precious art- works, they also conveyed important aspects of how he saw himself.

// in the Special Exhibition Gallery // in the Special Exhibition Gallery 15 Teniers assembled his master’s most impor- 16 This book is regarded as the first printed and tant Italian acquisitions in his depiction of illustrated catalogue of a collection of paint- the Archduke’s collection now in Vienna. Most ings. Published in Brussels in 1660, the Thea- David Teniers the David Teniers the of the artworks included here are still in the trum Pictorium presents a selection of Italian younger (Antwerp younger 1610–1690 Brussels) holdings of the Kunsthistorisches Museum; works from the collection of Archduke Leo- however, a comparison between the originals Theatrum pold Wilhelm. It comprises 243 etchings, com- Archduke Leo- and Teniers’ copies shows that he freely ad- Pictorium plete with measurements and the names of pold Wilhelm in justed their formats. Eleven versions of this the artists; each etching records a painting in his Gallery in composition with only minimal variations are Brussels 1660 one of three standardized formats. In addi- inv.no. BIBL 14523 Brussels known. Teniers did not produce a historical- tion, the Theatrum includes a frontispiece with ly correct encyclopaedic record of the collec- a dedication to the Archduke, Teniers’ pro- c. 1650 tion but emphasizes the courtly-official role logue, and a description and two views of the canvas, 124 cm x 165 cm inv.no. 739 of the Archduke’s enterprise. This aspect is new installation in Vienna. The publication underlined by the two dogs fighting over a comprising texts in Latin, French, Flemish stick in the foreground. The genre-like detail and Spanish was designed both for a wider illustrates a Netherlandish proverb that two audience and as a study aid for artists and dogs fighting over a single bone will never connoisseurs. Teniers copied the paintings agree, but probably also alludes to the polit­ onto small tablets (»pasticci«) that served as ical tensions between the Spanish crown and templates for the etchers after the collection the Governor. was moved to Vienna.

// in the Special Exhibition Gallery // in the Special Exhibition Gallery 17 This »baroque« installation is inspired by the ings on which several artists had collaborat- installation of Leopold Wilhelm’s collection ed were highly prized by collectors. For ex- at Stallburg Palace. This compact presenta- ample, we know that David Teniers painted The »Baroque« tion of Dutch and Flemish paintings reflects the figures in Barn with Maid Washing Crock- Installation what was then considered the ideal installa- ery and Goats, while Cornelis Saftleven was tion; it also creates unexpected visual experi- responsible for the rest of the composition. ences: today, seminal works like Rubens’ Lam- Leopold Wilhelm greatly enjoyed separating entation in the centre would be displayed in – and comparing – the different hands. At the splendid isolation. time such connoisseurs were called »true art-lovers«. The installation comprises only contemporary paintings but includes all the popular genres: history painting, genre scenes, portraits, still- lifes. Two of the works are »biographic« and depict Leopold Wilhelm: in Interior of Ant- werp Cathedral he is on the right, bowing to a clergyman, and in Ice-Skating on the Moat at Brussels he is on the far right, gazing out from his carriage. Leopold Wilhelm owned a number of similar works – among them The Brussels Popinjay; they functioned both as homage to the ruler and documented his popu­ larity, and they were probably commissioned by him. The surprisingly large number of flower still-lifes represents a relatively new genre. Over ninety of them are listed in the invento- ry of Leopold Wilhelm’s paintings compiled in 1659, which lists a total of 1397 pictures. For the first time it also records the name of all the artists – in contemporary Antwerp, paint-

18 Leopold Wilhelm loved 16th century Italian – 19 In the 1470s Antonello da Messina spent some especially Venetian – painting. Like many other time in Venice where Pietro Bono commis- Habsburgs he particularly admired Titian. This sioned him to paint an altarpiece for the Tiziano Vecellio, called Antonello da Messina celebrated late work is listed in his 1659 inven- church of San Cassiano. The large panel de- Titian (Pieve di Cadore (c. 1430–1479 Messina) c. 1488–1576 Venice) tory. It had probably been in the Imperial col- picting the Virgin and Child flanked by eight lection for some time before Leopold Wilhelm The Virgin and life-size saints was later removed from the Jacopo Strada acquired it. We know that he was able to in- Child with Sts. church; in 1620 it was sawn into pieces, which corporate a number of works from this source Nicolaus of Bari, were then sold individually, a practice that 1567/68 into his collection. both increased the amount of money that canvas, 126 cm x 95.5 Anastasia (?), Ur- cm x 3 cm sula, Dominic could be made from a multi-figure composi- inv.no. GG 81 Titian was celebrated for his portraits, and as and (cut off by tion and satisfied the rising demand for in most of them he tells us something about the frame) Hele- high-quality artworks. Leopold Wilhelm ac- the sitter: the statue of Venus in Strada’s hands na quired the central section of the panel depict- and the classical torso on the table refer to the ing the Virgin Mary flanked by four saints as fact that he was an expert on ancient art and 1475/1476 part of the Hamilton Collection. Then attrib- poplar wood, central »court antiquarian« to several princes and em- uted to , the panels were in- panel: 115 x 63 cm, left perors. The coins on the table and the books panel: 55.5 x 35 cm, ventoried individually, which suggests that above his head are a reminder of his learned right panel: 56.8 x 35.6 neither their connection nor the identity of books on classical numismatics. Gold chain, cm the artist was known. inv.no. GG 257 fur and sabre document his elevated rank. As in many of his later paintings, Titian dispens- es with clear outlines and applies the paint in thick brushstrokes.

// in the Picture Gallery // in the Picture Gallery 20 This portrait of a Venetian dignitary is among 21 Once Raphael’s St. Margaret was known in the most moving depictions of the human con- Venice it was widely admired. In 1528 its prais- dition by this celebrated artist. By the middle es were sung in a description of the collection Jacopo Robusti, called Raffaello Santi, called of the 17th century Habsburg collectors had fo- assembled by the lawyer Zuanantonio Veni- Tintoretto (1519–1594 Raphael (Urbino Venice) cused on Venetian paintings for over a cen­ 1483–1520 Rome) er. Its last Venetian owner was the procura- tury, and Leopold Wilhelm happily continued tor Michiel Priuli, who obviously loved it. Leg- Portrait of a this family tradition begun by Emperor St. Margaret end has it that after he had sold it to the Duke Bearded Man Charles V and King Philip II of Spain. The of Hamilton, the favourite of King Charles I, c. 1518 fact that this portrait is included among the he was so afflicted with sorrow that he fell c. 1570 poplar wood, 191.3 cm x Italian masterpieces assembled in David Te- down a flight of stairs and died. As a result of canvas, 92,4 x 59,5 cm 123 cm x 3.5 cm inv.no. GG 25 niers’ painting of Leopold Wilhelm’s gallery inv.no. 171 the English Civil War the Hamilton Collec- now in Vienna documents the high regard in tion was removed to Holland in 1649; only a which it was held by the Archduke. Teniers’ few weeks later it was in the hands of Leo­ connoisseurship helped Leopold Wilhelm to pold Wilhelm. This acquisition formed the ba- assemble his impressive collection. Teniers’ sis for his own collection of 16th century Ital- illustrated catalogue Theatrum Pictorium is a ian paintings. The fact that the picture figures permanent monument to his master’s celebrat- prominently in a number of depictions of Leo- ed collection. This »paper museum« showcas- pold Wilhelm’s collection documents how es the Bearded Man on plate 97. The painting much Raphael’s work meant to him. may also be identical with an entry in the 1643 inventory of the Hamilton Collection: »A blacke man in furred gowne of Tintoret«. After Hamilton’s execution Leopold Wilhelm acquired a number of paintings from the duke’s collection.

// in the Picture Gallery // in the Picture Gallery 22 23 In this small masterpiece Annibale Carracci Giorgione’s masterpiece was in the collection created a deeply moving image of sorrow, pain assembled by Bartolomeo della Nave, which and death using only a few figures placed in Giorgio da Castelfranco Annibale Carracci was acquired by the Duke of Hamilton with a constricted space. Trained on Raphael’s and called Giorgione (Bologna 1560–1609 (Castelfranco the help of his brother-in-law, the English am- Rome) Michelangelo’s modelling of the human figure c. 1477–1510 Venice) bassador to Venice. Some time after Hamil- and classical sculpture, he builds up an in- ton’s execution, Leopold Wilhelm bought his Pietà credible emotional intensity through his high- The Three impressive collection in 1649. The Archduke ly individual use of colour: the Virgin seems c. 1603 Philosophers must have cherished this painting because it to follow her dead son in death – note how copper, 41 x 60 cm appears in many of the pictures that record her lips and her fingertips have turned blue, 1508/1509 inv.no. GG 230 canvas, 125.5 cm x 146.2 his collection. A comparison between these the colour of the dead Christ. Her sole com- cm x 3.5 cm copies and the original shows that a large sec- fort are the two angels, but they are dramatical- inv.no. GG 111 tion of the latter was cut off in the 18th centu- ly juxtaposed with the instruments of the Pas- ry. sion still bearing traces of blood.

This is one of the few paintings we can attrib- In Teniers’ picture of the Archduke’s gallery ute to Giorgione. He depicts the founding fa- (see Special Exhibition Gallery) Carracci’s thers of Occidental philosophy: Pythagoras Pietà is accorded a prominent position, prob- clutching a goniometer and dividers, his teach- ably an expression of the high esteem in which er, Pherekydes of Syros, and the aged Thales. it was held by the collector. Giorgione was the leading painter in Venice at the turn of the 16th century and his works are characterized by a poetic mood and a warm, unifying colour harmony that deeply influenced Titian and other contemporaries.

// in the Picture Gallery // in the Picture Gallery 24 Archduke Leopold Wilhelm also acquired in- 25 Beginning with Emperor Ferdinand II the im- dividual paintings from other collectors and perial art collection was also subject to the art dealers in Antwerp. In 1648 he bought this laws of primogeniture. But because Leopold Jan van Eyck (Maaseyck Pieter Bruegel the elder celebrated portrait by Jan van Eyck together Wilhelm planned to leave his collection to his near Maastricht (Breda ? c. 1525/30–1569 c. 1390–1441 Bruges) with a vanitas still-life by Pieter Aertsen Brussels) nephew, Emperor Leopold I, his collection (Christ in the House of Mary and Magda, was probably also regarded as an imperial col- Cardinal Niccolò Room 16) from the collection of the Antwerp Hunters in the lection and he was able to acquire in Vienna Albergati (1375– art dealer Peter Stevens. It probably depicts Snow (Winter) a number of paintings by Pieter Bruegel the 1443) Cardinal Albergati, whom the Pope had sent elder that had entered the Habsburg collec- dated 1565 north in 1431 to try and arrange peace talks tion through his ancestors Archduke Ernst and c. 1435 oak panel, 117 x 162 cm to end the Hundred Years’ War. Emperor Rudolf II. They included the cele- oak panel, 34 cm x inv.no. GG 1838 29.5 cm brated series of the Seasons, the most famous inv.no. GG 975 Jan van Eyck, court painter to the Duke of of which is Hunters in the Snow. In Stallburg Burgundy, was long regarded as the inventor Palace, Bruegel’s Seasons were displayed below of oil painting. This new technique enabled a window so that the depicted landscape could him to depict details like the Cardinal’s aged compete with the real landscape above it. skin, the reflexes in his eyes or the fur trim- mings on his cloak. Jan van Eyck depicts all Leopold Wilhelm bought only one painting by details with great care without getting lost in Pieter Bruegel that is still attributed to him: them. Despite its small format the portrait The Nest Robber, also on show in this gallery. exudes monumentality, which also seems to At the time, however, it was believed to be a reflect the sitter’s strong character. work by Pieter Brueghel the younger.

// in the Picture Gallery // in the Picture Gallery 26 The Archduke was also interested in contem- 27 In his Teutsche Academie (German Academy) porary Flemish painting. Anthony van Dyck, published in 1675, Sandrart reports that Leo- a native of Antwerp, had died in London in pold Wilhelm paid the enormous sum of 2000 Anthony van Dyck Frans van Mieris the 1641, only a few years before Leopold Wilhelm guilders for Gentleman in a Shop, adding that (Antwerp 1599–1641 elder (1635–1681 Leiden) London) became Governor of the Spanish Netherlands this was »far too little / for such a handsome in 1647. The Archduke owned ten paintings Gentleman in a work«. Leopold Wilhelm’s tenure as Gover- Samson by him, among them Thetis Receiving Achil- Shop nor of the Spanish Netherlands ended in 1656 and Delilah les’ Arms from Hephaistos and Study of the and he returned to Vienna; but his acquisi- Head of a Woman Looking Up (also in Gal- dated 1660 tion of this work dated 1660 by the then twen- 1628/1630 oak panel, 54.5 x 42.7 cm lery XI). ty-five-year-old Frans van Mieris documents canvas, 146 x 254 cm inv.no. GG 586 inv.no. GG 512 that he continued to keep up-to-date with de- Giovanni Bellori recounts that Samson and velopments in the art scene even of the Prot- Delilah was given to Leopold Wilhelm by »Si- estant Dutch Republic. Together with Gerrit gnor Van Wonsel«. This probably refers to the Dou (Rembrandt’s first pupil!), Frans van Antwerp cloth merchants Marc and Joos van Mieris is regarded as the leading representa- Woonsel, who had also procured commissions tive of the »Leiden Fijnschilders« (literally for van Dyck. Bellori also recounts that the »fine-painters«). Their work is marked by an Archduke surpassed all his contemporaries in almost obsessive focus on the faithful render- his knowledge of classical antiquity, medals ing of the different materials and surfaces. and paintings, as documented by his gallery in the Theatrum Pictorium (see temporary ex- hibition).

// in the Picture Gallery // in the Picture Gallery 28 Leopold Wilhelm owned only one painting by 29 Archduke Leopold Wilhelm first met Joachim Jacob Jordaens, the most important Flemish Sandrart in 1646 when he visited the painter baroque painter after Rubens and van Dyck in Stockau, his estate in Bavaria. According Jacob Jordaens Joachim von Sandrart – despite the fact that Jordaens was still alive to a biographer close to the artist, the Arch- (Antwerp 1593–1678 ( 1606–1688 Antwerp) during the Archduke’s tenure as Governor of ) duke wanted to meet Sandrart after he had the Spanish Netherlands. However, this sin- seen some of his works in the Wittelsbach col- The Bean King gle painting, The Bean King, may be regard- Minerva and Sat- lections. Together they visited the Count Pal- ed as the quintessence of Jordaens’ innova- urn Protecting atine at Neuburg to see his collection of paint- c. 1640/1645 tions. Now celebrated as an icon of baroque Science and the ings by Rubens. Their acquaintance led to a canvas, 242 x 300 cm inv.no. GG 786 joie de vivre, the composition may also con- Arts from Envy number of commissions, among them this al- tain a direct reference to the Archduke, who and Falsehood legory. The subject, a homage to his patron- liked to celebrate his birthday (he was born age, was probably selected by the Archduke dated 1644 on January 5, 1614) on Epiphany (January 6); himself: the Roman goddess Minerva acts as canvas, 146 x 202 cm on that day it was customary in the Nether- inv.no. GG 1136 the protector of the arts, whose putto-like per- lands to pick the Bean King from among the sonifications flee from the allegories of envy guests at a banquet (by drawing lots, or a bean and falsehood. Clutching shield and scythe, baked in a cake). Jordaens executed several Saturn (or Chronos) is the god of time who versions of this subject, but the painting in Vi- protects the arts from transience; the deity enna is particularly successful at recounting may also stand for the hope that time will ex- an ancient custom in rich and opulent detail, pose falsehood and envy. and in a large format.

// in the Picture Gallery // in the Picture Gallery 30 When Leopold Wilhelm bought this St. Je- 31 In the 1620s Rubens painted this impressive rome he acquired – possibly even from the stormy landscape embellished with mytho- artist himself – a contemporary work by a logical figures purely for his own enjoyment: Christopher Paudiß Peter Paul Rubens Protestant painter. Born in Lower Saxony or it was never sold and was listed in the artist’s (Lower Saxony (Siegen 1577–1640 c. 1625–1666 Freising) Hamburg, Christopher Paudiß moved from Antwerp) estate after his death in 1640. King Charles I Dresden to Vienna in 1660, carrying a recom- tried to buy it, but was prevented by the im- St. Jerome mendation letter from Duke Johann Georg II, Stormy Land- minent outbreak of the English Civil War. But the Elector of Saxony, addressed to the Arch- scape with Jupi- as Governor of the Spanish Netherlands 1656/1658 duke. ter, Mercury, Phi- Leopold Wilhelm was able to acquire this and canvas, 136 x 124 cm inv.no. GG 395 lemon and Baucis three other paintings from Rubens’ estate (e.g. Rembrandt, in whose workshop Paudiß was Girl with Fan and Isabella d’Este in this gal- c. 1620/1625 active in the 1640s, executed a total of seven lery); he owned a total of eleven works by oak panel, 146 x 208,5 cm etchings of St. Jerome: one of the Doctors of inv.no. GG 690 Rubens. Before the artist’s estate was put up the Church, St. Jerome is responsible for the for auction a private sale was arranged for canonical order of the Hebrew and Greek the King of Spain, which the Austrian Gospels and translating them into Latin; this Habsburgs did not attend. made him equally important for Protestant artists and patrons and the Catholic Arch- duke. The painting focuses both on medita- tion and penitence and the Bible itself; at some later date a large section was cut off along the bottom edge.

// in the Picture Gallery // in the Picture Gallery 32 Leopold Wilhelm acquired The Head of Me- 33 Even before he became Governor of the Span- dusa not for his own collection but for that ish Netherlands Leopold Wilhelm had ac- of his brother, Emperor Ferdinand III. It was quired a number of artworks in Vienna, among Peter Paul Rubens Anonymous artist among the paintings sent to Prague to decorate them this ivory panel. As the son, brother and (Siegen 1577–1640 the denuded imperial palace, which had been uncle of emperors, Leopold Wilhelm felt a Antwerp) Gregory the ransacked by the Swedes; in 1880 it was re- deep veneration for artefacts from the reign Great with Head of Medusa moved to Vienna. Originally the painting had of Charlemagne. This small ivory panel fea- Scribes been in the collection of George Villiers, Duke turing a depiction of Pope Gregory the Great 1617/1618 of Buckingham, who had known Rubens and Lorraine (?), late 10th – originally the cover of a sacramentary – was canvas, 68.5 x 118 cm century inv.no. GG 3834 had owned a total of thirty paintings by him. such a relict. ivory, h. 20.5 cm, In 1628 this influential courtier was assassin­ w. 12.5 cm ated but during the English Civil War his son inv.no. KK 8399 For the Habsburgs owning such an artefact was able to bring much of his father’s superb buttressed their claim to rule as the rightful collection to Antwerp, where Leopold Wil- heirs to the first post-classical emperor of the helm’s agent, Jan van den Hoecke, acquired Occident. For Leopold Wilhelm the work’s re- the most important works from the Bucking- ligious content probably reflected his numer- ham Collection – among them Head of Me- ous bishoprics and appealed to him as a sem- dusa – for the Habsburgs. inal document of the time before the Refor- mation. Inspired by the dove of the Holy Spirit, the Pope composes the text that but- tresses the divine validity of the Catholic lit- urgy in the age of the Counter-Reformation.

// in the Picture Gallery // in the Kunstkammer 34 This bust depicting the Greek muse of sacred 35 These two flat circular wooden boxes are decor­ poetry and hymns reflects the period’s admir- ated with the portraits of Frederick the Wise, ation for classical antiquity in many ways: sub- Elector of Saxony (1463–1525), and his concu- Pier Maria della Master of the Decorated ject-matter, composition, handling and bine, Anna; in the 1659 inventory of Leopold Pescia Serbaldi, called Box tops Tagliacarne material. The ancients regarded porphyry as Wilhelm’s Kunstkammer they are listed as (Pescia c. 1445 – after an exceptional stone that was reserved for the Two Circular works by Albrecht Durer. Note Durer’s celeb­ 1525 Rom) emperor because of its purple colour; its hard- Boxes decorated rated monogramme next to Anna’s portrait. ness required exceptional skill. Contemporar- with Portraits, We can certainly assume some connection ies regarded Pietro Maria della Pescia Serbal- with Albrecht Durer as the portrait of the Elec- Polyhymnia and their Tops di as a »brilliant imitator of antiquity«, and featuring Mytho- tor is based on Durer’s well-known engraving Rome, c. 1500 legend has it that he once buried some of his logical Scenes depicting him. Today, art historians no longer porphyry, h. 41 cm own works in Rome that were later sold as believe that Durer worked as a sculptor but inv.no. KK 3529 genuine antiques. It was probably not only Nuremberg (?), 1525 the 17th century was convinced that he had. walnut, pear wood, the work’s antique character but also the de- Admiration for Durer’s work led to copies in 22 cm in diam. sire to own classical originals that led to its inv.nos. KK 3878, KK a number of different media. Every princely description in the 1659 inventory of Leopold 3879, KK3893, KK3894 collection had to include works by the celebrat- Wilhelm’s collection as »a small bust made of ed Renaissance artist, which helped people to red, profile of a woman .. antique« believe in their authenticity.

// in the Kunstkammer // in the Kunstkammer 36 Almost all the bronzes by Antico now in the 37 In his works Leonhard Kern reflects ideas and Kunstkammer Vienna are listed in Leopold impressions he had brought back from his so- Wilhelm’s 1659 inventory. journ in Italy, but he was also influenced by Pier Jacopo Alari de Leonhard Kern early 16th century German art. This figure was Bonacolsi, called. Antico (Forchtenberg 1588–1662 (Mantua, c. 1460–1528 A cast inscription on the bottom of the base Schwäbisch Hall) clearly informed both by the Belvedere Torso Gazzuolo) of Hercules and Antaeus (see image on the in the Vatican and works by Michelangelo, Tablet in Gallery 33 of the Kunstkammer) tells Pensive Christ and by Albrecht Durer’s woodcut Man of Sor- us that Antico made this statuette for Isabel- rows, the title page of his Small Passion. Hercules and Schwäbisch Hall, la d’Este, the art-loving Marchioness of Man- Antaeus c. 1625/35 tua (1474–1539) and one of the most important alabaster, h. 25 cm Leopold Wilhelm’s Kunstkammer also con- Mantua, c 1519 Renaissance collectors in Italy. As it was al- inv.no. KK 4429 tained a number of sculptures that represent bronze, h. 43.2 cm most impossible to obtain genuine antique the 17th century »Durer Renaissance« – retro- inv.no. KK 5767 works she collected Antico’s perfect replicas spective works that transpose Durer’s two-di- of classical sculptures. mensional compositions (especially his prints) into the three-dimensional medium sculpture, In 1627, Vincenzo II Gonzaga, the heavily in- i.e. a kind of mimetic re-creation. Deeply in- debted Duke of Mantua, sold parts of his col- terested in Renaissance art, the Archduke was lection to King Charles I of England. Follow- thus able to satisfy his strong desire to own ing Charles’ execution at the end of the Eng- works by Durer, which were by then almost lish Civil War, the Commonwealth auctioned unobtainable. off the in 1650; this is prob­ ably when and how Leopold Wilhelm acquired his Anticos.

// in the Kunstkammer // in the Kunstkammer 38 Archduke Leopold Wilhelm probably com- 39 Leopold Wilhelm’s court painter produced missioned this large-scale still-life from the lit- this small but highly inventive allegory cele- tle-known artist. The first thing the spectator brating his master. The portrait medallion de- Gottfried Libalt Attributed to Jan van notices is the decorative pattern of the orien- picts him as a general and a clergyman. The (c. 1610–1673 Vienna) den Hoecke tal carpet spread over the table. Leopold Wil- (1611–1650 Antwerp) genius on the left presents a gold medallion Still Life with a helm’s bust is given pride of place. Libalt was with the Archduke’s personal device »Timore Bust of Arch- inspired by a marble bust by the sculptor Allegory cele- Domini« (»in fear of the Lord«) to which Fame duke Leopold Jérôme II Duquesnoy (KK 8932; the original brating Arch- clutching her trombone is pointing. To express Wilhelm is displayed next to the painting in Gallery 23 duke Leopold her desire for peace, Minerva’s sword does of the Kunstkammer; the bronze copy is on Wilhelm (1614– not have a tip. But the cornucopia in Apollo’s dated 1660 show in the special exhibition). In the bust, 1662) hands denotes that even in times of war the canvas, 253 x 119 x 4 cm the Archduke stares into the distance, empha- god of music and the arts can spread magnifi­ inv.no. 7795 c. 1650 sizing the portrait’s formal, timeless charac- cence and splendour. Facing them, Hercules canvas, 50.8 cm x 70.5 ter; Libalt, however, has brought it to life by cm x 2.5 cm with his lion and Prudentia, the goddess of changing the Archduke’s focus, who is now inv.no. 9682 wisdom, illustrate some of the Archduke’s vir- melancholically gazing at us. The composi- tues, which also include celibacy, symbolized tion’s focus on realistic, haptic impressions is by the unicorn and blindfolded Cupid. transformed into a sumptuous still-life imbued with a political-allegorical meaning.

// in the Kunstkammer // in the Kunstkammer GALLERY TALKS IN GERMAN

WEd june 18, 4 p.m. »ein galeria nach meinem humor« Gerlinde Gruber FRi june 20, 10.15 a.m. Die Galerie Erzherzog Leopold Wilhelms Rotraut Krall FRi june 27, 10.15 a.m. Amator artis pictoriae – what else? Konrad Schlegel WEd sept 3, 4 p.m. Erzherzog Leopold Wilhelm – im Dialog zwischen der Kunsthistorikerin Rotraut Krall und der Historikerin Renate Schreiber WEd sept 5, 10.15 a.m. Das »Theatrum Pictorium« und die Zelebrierung der Italienischen Kunst Francesca del Torre Scheuch WEd sept 10, 4 p.m. »Inuito alla guerra« – Leopold Wilhelm als Feldherr Stefan Krause WEd sept 24, 4 p.m. Das Galeriebild: ein Gemälde zum Ruhm des Sammlers Gerlinde Gruber WEd sept 17, 4 p.m. Amator artis pictoriae – what else? Konrad Schlegel

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