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Dr. Sabine Haag
Director-General
Kunsthistorisches Museum Wien
Burgring 5, 1010 Vienna
© 2014 KHM
Authors:
Gerlinde Gruber (Baroque Installation, 25, 28, 31)
Barbara Herbst (10, 21, 19, 34)
Rotraut Krall (4, 5, 6, 14, 15, 21, 38, 39)
Manuela Laubenberger (13)
Konrad Schlegel (7, 8, 9, 35, 36, 37)
Renate Schreiber (Introduction, 1)
Agnes Stillfried (2, 3, 18, 22, 24)
Francesca del Torre Scheuch (16)
Daniel Uchtmann (20, 26, 29, 33)
Karoline Zhuber-Okrog (12)
Andreas Zimmermann (23, 27, 30, 32)
English translations: Agnes Stillfried
EDITOR
PARTNERS
David Teniers the younger,Archduke Leopold Wilhelm in his Gallery in Brussels, c. 1650, canvas
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!
Many people love to collect things, but only a
select few of these collections remain intact
over decades or over the centuries. We are ex-
tremely fortunate that one of them was the
high-quality collection assembled by Archduke
Leopold Wilhelm (1614–1662). To celebrate the
4ooth anniversary of his birth the Kunsthisto-
risches Museum Vienna is presenting a selection
of works from his collections, which comprise
a seminal part of the museum’s holdings.
The artefacts assembled in our Special Exhibi-
tion Gallery document the depth and breadth
of the Archduke’s collection. In addition, other
works from his collection now displayed in the
Kunstkammer and the Picture Gallery are iden-
tified by a special label; the Coin Collection has
installed a special vitrine.
Look out for objects collected by the Archduke
in the different collections – it’s worth it!
INTRODUcTION
LE
OPO
LD WILHE
LM
SA
MM E L L U
STA Passion for Art
EN
17. june 2014 to 28. september 2014
A Passion for Art
po
stag
e
to a
n E
U a
dd
ress
p
aid
by
KH
M
2425
27
26 1
21
18
20 22
23
17
19
29
28
3130
32
TO
37
3938
33
36
34
35
1
■ Picture Gallery ■ Picture Gallery
0.5
■ Kunstkammer Vienna
David Teniers jun., Leopold Wilhelm in his Gallery in Brussels, c. 1650, © KHM
ww
w.k
hm
.at
Dr. Irene Schaudies, Archduke Leopold
Wilhelm and Jacob Jordaens
Irene Schaudies wrote her PhD on Jacob Jor-
daens and helped curate the exhibition Jor-
daens und die Antike in Brussels/Kassel with
Joost Vander Auwera and Justus Lange. A free-
lance art historian, her research focus is on
Flemish baroque art. She has published on
Jordaens, Rubens and the reception of
Caravaggio in the southern Netherlands.
LEcTURES
Fri sept. 12, 4 p.m. lecture room
■ Special exhibition: »A Passion for Art«
We will post this postcard for you to an EU
address. Just drop it into the post box in the
Museum Shop.
GREETINGS FROM THE KUNSTHISTORIScHES MUSEUM
Short Lunchtime Lectures in German on dif-
ferent works in the exhibition every Tues at
12.30 p.m. July – August.
For details go to www.khm.at
LUNcHTIME LEcTURES
Sabine Haag (ed.)
brochure, 112 pages, German
ISBN 978-3-99020-071-1
€ 14,95
EXHIBITION cATALOGUE
Frans Luycx
ErzhErzog LEopoLd WiLhELm
Attributed to Alessandro Abondio
portrait mEdaL
Jan Davidsz de Heem
thE Eucharist With Fruit garLands
Augsburg tWo matchLock pistoLs
David Teniers the younger
thE BrussELs popinjay
Leonhard Kern
scEnE From thE thirty yEars’ War
Leonhard Kern
aBundantia
Pier Jacopo Alari de Bonacolsi, called Antico
atropos
Dionysio Miseroni
shELL-shapEd BoWL
Florence
L’arrotino (thE grindEr)
Italian
ushaBti
Roman
magicaL camEo
Roman
EmpEror Lucius VErus
Balthasar Herold, Johann Philipp Barth archdukE LEopoLd WiLhELm
1
2
3
4
5
6
7
8
9
10
11
12
13
in the Special exhibition Gallery
14
David Teniers the younger
thEatrum pictorium
thE »BaroquE« instaLLation
David Teniers the younger
archdukE LEopoLd WiLhELm in his gaLLEry in BrussELs
Tiziano Vecellio, called Titian
jacopo strada
Antonello da Messina
thE Virgin and chiLd With saints
Jacopo Robusti, called Tintoretto
portrait oF a BEardEd man
Raffaello Santi, called Raphael
st. margarEt
Giorgio da Castelfranco called Giorgione
thE thrEE phiLosophErs
Annibale Carracci
piEtà
Jan van Eyck
cardinaL niccoLò aLBErgati
Pieter Bruegel the elder
huntErs in thE snoW (WintEr)
Anthony van Dyck
samson and dELiLah
Frans van Mieris the elder
gEntLEman in a shop
Jacob Jordaens
thE BEan king
15
16
17
18
19
20
21
22
23
24
25
Joachim von Sandrart
minErVa and saturn protEcting sciEncE and thE arts From EnVy and FaLsEhood
Christopher Paudiß
st. jEromE
Peter Paul Rubens
stormy LandscapE With jupitEr, mErcury, phiLEmon and Baucis
Peter Paul Rubens
hEad oF mEdusa
Anonymous artist
grEgory thE grEat With scriBEs
Pier Maria della Pescia Serbaldi, called
Tagliacarne
poLyhymnia
Master of the Decorated Box tops
tWo circuLar Box tops
Pier Jacopo Alari de Bonacolsi, called Antico
hErcuLEs and antaEus
Leonhard Kern
pEnsiVE christ
Gottfried Libalt
stiLL LiFE With a Bust oF archdukE LEopoLd WiLhELm
Attributed to Jan van den Hoecke
aLLEgory cELEBrating archdukE LEopoLd WiLhELm (1614 —1662)
26
27
28
29
30
31
32
33
34
35
36
37
38
39
in the picture Gallery
in the KunStKammer
In 1648 the Peace of Westphalia concluded
the Thirty Years’ War, but Spain and France
remained at war. This meant the Archduke
continued under military orders.
For many years the Netherlands had served
as Europe’s centre for the art trade. As a re-
sult of the English Civil War, a number of out-
standing collections came onto the market.
Advised by his court painter Jan van den
Hoecke, Leopold Wilhelm gladly used this op-
portunity to acquire many important works.
When van den Hoecke’s died, he was succeed-
ed by David Teniers the younger, whose pic-
tures of the masterpieces assembled by the
Archduke helped to publicise the latter’s col-
lection.
At his own desire Leopold Wilhelm ended his
tenure in 1656 and returned to Vienna. Six
months later his brother Emperor Ferdinand
III was dead. Following a difficult election,
Ferdinand’s nineteen-year-old son, Leopold I,
was elected Emperor. Leopold Wilhelm and
his nephew were on excellent terms, and he
became Leopold’s trusted advisor.
In 1658 the top floor of Stallburg Palace was
adapted to house the Archduke’s extensive
collection. Anton van der Baren, the director
Archduke Leopold Wilhelm was born on Janu-
ary 5, 1614 at Wiener Neustadt as the young-
est son of Archduke, later Emperor Ferdinand
II and his wife Mary of Bavaria.
As a younger son he was destined for a career
in the Church. Here Franz Luycx portrays the
blond prince in ecclesiastical robes aged about
22. The Archduke appears sensitive and some-
what melancholic, and we know that he was
unhappy about being elected bishop (of,
among others, Passau and Strasbourg) and be-
coming Grand Master of the Teutonic Order.
Twice – in 1639 and in 1645 – his brother, Em-
peror Ferdinand III, appointed him command-
er of the Imperial army during the Thirty
Years’ War. Despite his lack of military train-
ing Leopold Wilhelm approached this assign-
ment with enthusiasm; sadly, his military car-
eer was not very successful.
In April 1647, Leopold Wilhelm travelled to
Brussels as Governor of the Spanish Nether-
lands (more or less modern-day Belgium and
Luxemburg) for his cousin, King Philip IV of
Spain, an assignment fraught with difficulties.
He was accompanied by his chamberlain and
confidant , Count Johann Adolph von
Schwarzenberg.
1
Frans Luycx (Antwerp 1604–1668 Vienna)
archdukE LEopoLd WiLhELm (1614–1662) in EccLEsiasticaL roBEs
c. 1638canvas, 85 x 56 cminv.no. GG 2754
2
Attributed to Alessandro Abondio (1570/80–1648)
portrait mEdaL (giFt mEdaL) oF LEopoLd WiLhELm
undated (after 1641)gold (minted), 42.5 mm, 35.14 g (equals 10 ducats), broken loopinv.no. MK 2545bβ
Through his travels and exalted rank Leopold
Wilhelm was familiar with medals and coins
as artistic media. It is remarkable, however,
that most of his medals were intended as gifts
or honours.
The obverse of this »gift medal« features the
Archduke’s bust-portrait in ecclesiastical
robes, its reverse a lion and a lamb beneath a
cross; the crossbar is decorated with a bride,
laurel branches and the Eye of Providence.
The image’s meaning is not easy to decipher.
The lamb may be identified as the agnus dei,
or it may represent justice; the lion stands for
bravery, and the bridle for moderation; the
laurels refer either to faith or to victory. We
may assume that this is an allegorical render-
ing of the Archduke’s virtues that culminates
in his personal device »TIMORE DOMINI« (in
fear of the Lord).
of his picture gallery, was in charge of the
building work, and in 1659 compiled an inven-
tory of all the artworks.
In 1661 the painter Frans Geffels wrote enthu-
siastically about his visit to Stallburg Palace:
»the Archduke took over four hours to show
me round the collection, explaining and lis-
tening as we walked […] I believe there is no
place in Italy with so many (paintings) this
beautiful.«
On November 20, 1662 Leopold Wilhelm died
in Vienna. He left some of his tapestries to
his friend Count Schwarzenberg, but his paint-
ings – »what I love most among my estate« –
expressly to his nephew, Emperor Leopold I.
A large share of his collection still forms a
seminal part of the celebrated collections of
the Kunsthistorisches Museum Vienna.
// in the Special Exhibition Gallery // in the Special Exhibition Gallery
3
Jan Davidsz de Heem (Utrecht 1606–1683/1684 Antwerp)
thE Eucharist With Fruit garLands
dated 1648 canvas, 138 cm x 125,5 cm x 2,5 cminv.no. GG 571
In 1648 De Heem painted this ecclesiastical
still-life for Leopold Wilhelm, whose person-
al device Timore Domini (in fear of the Lord)
reflected both his personal piety and his many
ecclesiastical offices. At the early age of eleven
he was elected Bishop of Passau, the first of
many bishoprics. A speciality of Flemish bar-
oque painters, ecclesiastical still-lifes were
promoted by the Jesuits as an effective Coun-
ter-Reformatory device. This glorification of
the Eucharist combines the sensual enjoyment
of verisimilitude with Christian symbolism:
chalice and host surrounded by an aureole
are framed by fruits and flowers symbolizing
death and resurrection: the poppies, for ex-
ample, represent the Passion, the cherries sin
and its conquest, the ears of corn and the
grapes the bread and wine of the Eucharist,
and the butterfly the resurrected soul.
Popinjays were among the traditional enter-
tainments organized by the St. George’s Har-
quebusiers Guild in Brussels. In 1651 Arch-
duke Leopold Wilhelm participated, follow-
ing in the footsteps of one of his predecessors,
Archduke Albrecht. Attended by all the Har-
quebusiers, numerous representatives of the
city and many onlookers, the Governor
knocked the artificial bird off its perch, which
reached up to the ridge turret of the church
of Our Lady. Standing on the estrade in the
centre of the composition, Leopold Wilhelm
– still clutching his crossbow and the only
gentle man wearing a hat – is being congratulat-
ed for his shot. Teniers brilliantly combines
different genres and aspects such as history
painting, portraiture, genre painting and es-
pecially the courtly display of authority.
4
David Teniers the younger (Antwerp 1610–1690 Brussels)
thE BrussELs popinjay
inscribed on the left below the carriage horses: DAVID.TENIERS. FEC AV 1652;dated 1652
canvas, 172 x 247 cminv.no. 756
// in the Special Exhibition Gallery // in the Special Exhibition Gallery
A confidently striding officer has stabbed a
naked young woman in the back and twisted
her arm onto her back while directing his
scornful and feisty gaze at the spectator. The
girl’s face shows no signs of pain. The three
roses on the officer’s baldric identify him as
Reinhold von Rosen, a Livorian aristocrat
who fought with the French in the Thirty
Years’ War and participated in the sack of
Schwäbisch Hall. The exceptional contempor-
ary scene depicted in this alabaster group is
probably an allegory on the danger faced by
Schwäbisch Hall. Then a burgher of this city,
Leonard Kern may have been commissioned
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.
6
Leonhard Kern (1588–1662)
scEnE From thE thirty yEars’ War
Schwäbisch Hall, before 1659alabaster, h. 34.3 cm inv.no. KK 4363
During the Thirty Years’ War pistols were part
of the basic equipment of the heavy cavalry.
In battle their concentrated attack aimed to
break enemy lines and put them to flight. This
pair of pistols belonged to Archduke Leopold
Wilhelm. It was first described in his 1660 in-
ventory: »a Netherlandish pair of matchlock
pistols, the handles with tortoises, which His
Imperial Highness was given by Count For-
gätsch at Bratislava«. Note the pistols’ elegant
simplicity and the precious materials used.
The barrels were made in Augsburg and are
decorated with red-and-black mother-of-pearl;
the matchlocks are engraved; the fittings are
made of gilt brass.
5
Augsburg
tWo matchLock pistoLs
middle of the 17th centuryengraved iron, engraved brass, mother of pearl, each l. 71,5 cm, H. 15 cm, T. 5 cminv.no. HJRK A 1470, A 1471
// in the Special Exhibition Gallery // in the Special Exhibition Gallery
8
Pier Jacopo Alari de Bonacolsi, called Antico(Mantua, c. 1460–1528 Gazzuolo)
atropos
Mantua, c. 1519bronze, h. 32 cminv.no. KK 5545
Atropos, one of the Three Fates, is the one
who cuts each mortal’s thread with her scis-
sors. She once held the latter in her right, and
a distaff in her left hand. This high-quality
statue was one of several bronzes by the Man-
tuan Renaissance sculptor Antico (for more
works by him see Gallery 33 of the Kunstkam-
mer) installed in the so-called Kunstkammer
of Leopold Wilhelm at Vienna’s Stallburg Pal-
ace. After the Archduke’s return from Brus-
sels in 1656, his now enormously enlarged col-
lection was divided: the larger part was in-
stal led at Stal lburg Palace – the 1659
inventory lists 1397 paintings, 343 drawings
and 542 sculptures, small statues and other
Kunstkammer objets d’art. In addition, Leo-
pold Wilhelm installed his so-called Treasury
in the Amalienburg wing of Hofburg Palace,
which probably contained over 800 precious
artefacts (see next exhibit).
This classical goddess clutching a cornucopia
was carved from the tip of a walrus tusk, part
of which is still firmly embedded in the ani-
mal’s jawbone. The figure seems to grow out
of the brittle material, reflecting the juxta-
position of nature and art so beloved of Kunst-
kammer collectors in the 16th and 17th century.
This remarkable artefact was in the collec-
tion of Leopold Wilhelm even before he be-
came Governor of the Spanish Netherlands.
Before leaving Vienna for Brussels in 1647 the
Archduke commissioned an inventory of his
collection in which it is listed. The inventory
comprised around 470 objects: most of them
are reliquaries and other religious artefacts
but it also contained scientific instruments
and exotic objects. This shows us that his then
still quite small collection bore the rudiments
of an encyclopaedic Kunstkammer collection.
7
Leonhard Kern (Forchtenberg 1588–1662 Schwäbisch Hall)
aBundantia
Schwäbisch Hall, c. 1635/45Walrus tusk, h. 37.7 cminv.no. KK 4547
// in the Special Exhibition Gallery // in the Special Exhibition Gallery
10
Florence
L’arrotino (thE grindEr) rEduction oF an anciEnt ori-ginaL
2nd half of the 16th century bronze, h. 25.8 cminv.no. KK 5760
9
Dionysio Miseroni (Prague c. 1607–1661 Prague)
shELL-shapEd BoWL
Prague, 1656/57rock crystal, h. 7.1 cm, l. 13.1 cm, w. 7.9 cminv.no. KK 1420
A man has knelt down to grind his knife on
a stone; but instead of focusing on his knife
he has raised his pained face to gaze at some-
one. This someone is Marsyas, whose flaying
Apollo has ordered. The latter is missing but
was originally part of the original Hellenistic
group. The Romans frequently copied some
of the figures of this impressive bronze group.
A number of life-size marble copies of Marsyas
have survived, but only a single copy of the
grinder – discovered in Rome in the early 16th
century and on show in the Uffizi Galleries
since 1680 – is known. Various 16th and 17th
century artists produced copies, versions and
sketches of it. It also served as the model for
this small sculpture; with it, Leopold Wilhelm
owned at least a reduced copy of a then
much-discussed work.
This and other vessels cut from rock crystal
by the imperial stone-cutter Dionysio Misero-
ni were housed in the so-called Treasury of
Leopold Wilhelm in the Amalienburg wing of
Hofburg Palace in Vienna. Inventoried in
1660, the collection comprised a total of 814
artefacts and included his precious reliquar-
ies, clocks and silver plates. The so-called Kun-
stkammer in Stallburg Palace housed all his
narrative, figurative artefacts, while the Treas-
ury in the Amalienburg wing contained
non-figurative artworks. This conceptual and
physical division of a princely collection into
»figurative art« and a »treasury« documents
the rejection of the traditional idea of an en-
cyclopaedic Kunstkammer, heralding the new
organization of the Habsburg holdings, which
were installed in smaller specialized collec-
tions with the onset of the Age of Enlighten-
ment in the 18th century.
// in the Special Exhibition Gallery // in the Special Exhibition Gallery
12
Roman
magicaL camEo
Ouroboros and magical inscriptions2nd centurychalcedony, h. 2.2 cminv.no ANSA IXb 1230
Sadly, we have so far not been able to identi-
fy the small classical artefacts listed in Leop-
old Wilhelm’s inventory, which records them
in general rather than carefully-detailed terms.
However, one small sub-group can be identi-
fied: cameos from the 2nd and 3rd century AD
featuring magical-occult images. In classical
antiquity they served as amulets and talismans.
This genre was first published by the Arch-
duke’s private physician Johannes Chifletius
(1588–1660); he included origins, descriptions
and engravings of four stones in the arch -
ducal collection: three magical cameos and a
phalera, a Roman military decoration. Their
images – demonic composite creatures, assem-
blies of deities, a serpent eating its own tail
(ouroboros, a symbol of eternity), or magical
inscriptions – encouraged learned discourse.
It is at first surprising to find a figure like this
one in Leopold Wilhelm’s collection because
Europe’s love of all things Egyptian began
much later. However, small ancient Egyptian
artefacts already circulated in the 17th cen-
tury and were regarded as worthy of being in-
cluded in princely collections, although this
did not happen often. At first glance, this ush-
abti appears genuine. We can make out some
hieroglyphs even if not all of them are legible.
However, in Ancient Egypt ushabti were neve r
made of bronze. The figure – together with
the base on which the original was mounted
– was probably cast from a genuine ushabti.
Bronze casts were often used to copy
sought-after but rare ancient originals; these
life-size or reduced copies were welcome ad-
ditions to princely collections.
11
Italian
ushaBti
c. 1650?bronze, h. 13.1 cminv.no. KK 5858
// in the Special Exhibition Gallery // in the Special Exhibition Gallery
14
Balthasar Herold (1625–1683), Johann Philipp Barth (1657–1657)
archdukE LEopoLd WiLhELm, Bust
Vienna, 1657 bronze, H. 69.5 cminv.no. KK 8930
This bronze bust depicts the Archduke in his
favourite pose as supreme commander and
Grand Master of the Teutonic Order. Emperor
Ferdinand III, Leopold Wilhelm’s elder brother,
commissioned bronze sculptures for his
Kunstkammer collection from Balthasar Her-
old, among them such a bust. The work is at-
tributed to Herold because he is named in a
then still unpaid receipt dated to the time of
the Emperor’s death (†1657). Herold based his
work on a signed and dated (1650) marble bust
by the Flemish sculptor Jérôme II Duquesnoy
(on show in the Kunstkammer, Gallery 23).
Duquesnoy employs a stately-aloof pose to
great effect to create a formal and aristocrat-
ic composition that almost rivals van Dyck’s
painted portraits. Herold brilliantly trans-
posed this baroque-classical inclination into
bronze.
This ancient Roman bust was first identified
in the inventory of the Collection of Greek
and Roman Antiquities and on Teniers’ paint-
ing of Leopold Wilhelm’s gallery in Brussels
(inv.no. GG 739, also on show in this exhibi-
tion) in 1875. But the reason for its prominent
position between Leopold Wilhelm and Te-
niers was discovered only recently: the bust
was believed to depict Marcus Aurelius, the
“philosopher king” much admired by Human-
ists. It is no accident that the bronze eques-
trian statue of Leopold Wilhelm (inv.no. KK
6002) modelled on Marcus Aurelius’ celebrat-
ed equestrian statue on the Capitol in Rome
is depicted on the table on the left.
In a print from 1660 (in the so-called Thea-
trum Pictorium) the bust is also displayed
prominently. For Leopold Wilhelm antiques
obviously functioned not only as precious art-
works, they also conveyed important aspects
of how he saw himself.
13
Roman
portrait Bust oF EmpEror Lucius VErus
middle of the 2nd century marble, h. 100 cminv.no. ANSA I 115
// in the Special Exhibition Gallery // in the Special Exhibition Gallery
16
David Teniers the younger
thEatrum pictorium
Brussels 1660inv.no. BIBL 14523
This book is regarded as the first printed and
illustrated catalogue of a collection of paint-
ings. Published in Brussels in 1660, the Thea-
trum Pictorium presents a selection of Italian
works from the collection of Archduke Leo-
pold Wilhelm. It comprises 243 etchings, com-
plete with measurements and the names of
the artists; each etching records a painting in
one of three standardized formats. In addi-
tion, the Theatrum includes a frontispiece with
a dedication to the Archduke, Teniers’ pro-
logue, and a description and two views of the
new installation in Vienna. The publication
comprising texts in Latin, French, Flemish
and Spanish was designed both for a wider
audience and as a study aid for artists and
connoisseurs. Teniers copied the paintings
onto small tablets (»pasticci«) that served as
templates for the etchers after the collection
was moved to Vienna.
Teniers assembled his master’s most impor-
tant Italian acquisitions in his depiction of
the Archduke’s collection now in Vienna. Most
of the artworks included here are still in the
holdings of the Kunsthistorisches Museum;
however, a comparison between the originals
and Teniers’ copies shows that he freely ad-
justed their formats. Eleven versions of this
composition with only minimal variations are
known. Teniers did not produce a historical-
ly correct encyclopaedic record of the collec-
tion but emphasizes the courtly-official role
of the Archduke’s enterprise. This aspect is
underlined by the two dogs fighting over a
stick in the foreground. The genre-like detail
illustrates a Netherlandish proverb that two
dogs fighting over a single bone will never
agree, but probably also alludes to the polit-
ical tensions between the Spanish crown and
the Governor.
15
David Teniers the younger (Antwerp 1610–1690 Brussels)
archdukE LEo- poLd WiLhELm in his gaLLEry in BrussELs
c. 1650canvas, 124 cm x 165 cminv.no. 739
// in the Special Exhibition Gallery // in the Special Exhibition Gallery
This »baroque« installation is inspired by the
installation of Leopold Wilhelm’s collection
at Stallburg Palace. This compact presenta-
tion of Dutch and Flemish paintings reflects
what was then considered the ideal installa-
tion; it also creates unexpected visual experi-
ences: today, seminal works like Rubens’ Lam-
entation in the centre would be displayed in
splendid isolation.
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-
17
thE »BaroquE« instaLLation
ings on which several artists had collaborat-
ed were highly prized by collectors. For ex-
ample, we know that David Teniers painted
the figures in Barn with Maid Washing Crock-
ery and Goats, while Cornelis Saftleven was
responsible for the rest of the composition.
Leopold Wilhelm greatly enjoyed separating
– and comparing – the different hands. At the
time such connoisseurs were called »true
art-lovers«.
Leopold Wilhelm loved 16th century Italian –
especially Venetian – painting. Like many other
Habsburgs he particularly admired Titian. This
celebrated late work is listed in his 1659 inven-
tory. It had probably been in the Imperial col-
lection for some time before Leopold Wilhelm
acquired it. We know that he was able to in-
corporate a number of works from this source
into his collection.
Titian was celebrated for his portraits, and as
in most of them he tells us something about
the sitter: the statue of Venus in Strada’s hands
and the classical torso on the table refer to the
fact that he was an expert on ancient art and
»court antiquarian« to several princes and em-
perors. The coins on the table and the books
above his head are a reminder of his learned
books on classical numismatics. Gold chain,
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.
18
Tiziano Vecellio, called Titian (Pieve di Cadore c. 1488–1576 Venice)
jacopo strada
1567/68canvas, 126 cm x 95.5 cm x 3 cminv.no. GG 81
In the 1470s Antonello da Messina spent some
time in Venice where Pietro Bono commis-
sioned him to paint an altarpiece for the
church of San Cassiano. The large panel de-
picting the Virgin and Child flanked by eight
life-size saints was later removed from the
church; in 1620 it was sawn into pieces, which
were then sold individually, a practice that
both increased the amount of money that
could be made from a multi-figure composi-
tion and satisfied the rising demand for
high-quality artworks. Leopold Wilhelm ac-
quired the central section of the panel depict-
ing the Virgin Mary flanked by four saints as
part of the Hamilton Collection. Then attrib-
uted to Giovanni Bellini, the panels were in-
ventoried individually, which suggests that
neither their connection nor the identity of
the artist was known.
19
Antonello da Messina (c. 1430–1479 Messina)
thE Virgin and chiLd With sts. nicoLaus oF Bari, anastasia (?), ur-suLa, dominic and (cut oFF By thE FramE) hELE-na
1475/1476poplar wood, central panel: 115 x 63 cm, left panel: 55.5 x 35 cm, right panel: 56.8 x 35.6 cminv.no. GG 257
// in the Picture Gallery // in the Picture Gallery
Once Raphael’s St. Margaret was known in
Venice it was widely admired. In 1528 its prais-
es were sung in a description of the collection
assembled by the lawyer Zuanantonio Veni-
er. Its last Venetian owner was the procura-
tor Michiel Priuli, who obviously loved it. Leg-
end has it that after he had sold it to the Duke
of Hamilton, the favourite of King Charles I,
he was so afflicted with sorrow that he fell
down a flight of stairs and died. As a result of
the English Civil War the Hamilton Collec-
tion was removed to Holland in 1649; only a
few weeks later it was in the hands of Leo-
pold Wilhelm. This acquisition formed the ba-
sis for his own collection of 16th century Ital-
ian paintings. The fact that the picture figures
prominently in a number of depictions of Leo-
pold Wilhelm’s collection documents how
much Raphael’s work meant to him.
21
Raffaello Santi, called Raphael (Urbino 1483–1520 Rome)
st. margarEt
c. 1518poplar wood, 191.3 cm x 123 cm x 3.5 cminv.no. 171
20
Jacopo Robusti, called Tintoretto (1519–1594 Venice)
portrait oF a BEardEd man
c. 1570canvas, 92,4 x 59,5 cminv.no. GG 25
This portrait of a Venetian dignitary is among
the most moving depictions of the human con-
dition by this celebrated artist. By the middle
of the 17th century Habsburg collectors had fo-
cused on Venetian paintings for over a cen-
tury, and Leopold Wilhelm happily continued
this family tradition begun by Emperor
Charles V and King Philip II of Spain. The
fact that this portrait is included among the
Italian masterpieces assembled in David Te-
niers’ painting of Leopold Wilhelm’s gallery
now in Vienna documents the high regard in
which it was held by the Archduke. Teniers’
connoisseurship helped Leopold Wilhelm to
assemble his impressive collection. Teniers’
illustrated catalogue Theatrum Pictorium is a
permanent monument to his master’s celebrat-
ed collection. This »paper museum« showcas-
es the Bearded Man on plate 97. The painting
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
23
Annibale Carracci (Bologna 1560–1609 Rome)
piEtà
c. 1603copper, 41 x 60 cminv.no. GG 230
In this small masterpiece Annibale Carracci
created a deeply moving image of sorrow, pain
and death using only a few figures placed in
a constricted space. Trained on Raphael’s and
Michelangelo’s modelling of the human figure
and classical sculpture, he builds up an in-
credible emotional intensity through his high-
ly individual use of colour: the Virgin seems
to follow her dead son in death – note how
her lips and her fingertips have turned blue,
the colour of the dead Christ. Her sole com-
fort are the two angels, but they are dramatical-
ly juxtaposed with the instruments of the Pas-
sion still bearing traces of blood.
In Teniers’ picture of the Archduke’s gallery
(see Special Exhibition Gallery) Carracci’s
Pietà is accorded a prominent position, prob-
ably an expression of the high esteem in which
it was held by the collector.
22
Giorgio da Castelfranco called Giorgione (Castelfranco c. 1477–1510 Venice)
thE thrEE phiLosophErs
1508/1509canvas, 125.5 cm x 146.2 cm x 3.5 cminv.no. GG 111
Giorgione’s masterpiece was in the collection
assembled by Bartolomeo della Nave, which
was acquired by the Duke of Hamilton with
the help of his brother-in-law, the English am-
bassador to Venice. Some time after Hamil-
ton’s execution, Leopold Wilhelm bought his
impressive collection in 1649. The Archduke
must have cherished this painting because it
appears in many of the pictures that record
his collection. A comparison between these
copies and the original shows that a large sec-
tion of the latter was cut off in the 18th centu-
ry.
This is one of the few paintings we can attrib-
ute to Giorgione. He depicts the founding fa-
thers of Occidental philosophy: Pythagoras
clutching a goniometer and dividers, his teach-
er, Pherekydes of Syros, and the aged Thales.
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
25
Pieter Bruegel the elder (Breda ? c. 1525/30–1569 Brussels)
huntErs in thE snoW (WintEr)
dated 1565 oak panel, 117 x 162 cminv.no. GG 1838
Beginning with Emperor Ferdinand II the im-
perial art collection was also subject to the
laws of primogeniture. But because Leopold
Wilhelm planned to leave his collection to his
nephew, Emperor Leopold I, his collection
was probably also regarded as an imperial col-
lection and he was able to acquire in Vienna
a number of paintings by Pieter Bruegel the
elder that had entered the Habsburg collec-
tion through his ancestors Archduke Ernst and
Emperor Rudolf II. They included the cele-
brated series of the Seasons, the most famous
of which is Hunters in the Snow. In Stallburg
Palace, Bruegel’s Seasons were displayed below
a window so that the depicted landscape could
compete with the real landscape above it.
Leopold Wilhelm bought only one painting by
Pieter Bruegel that is still attributed to him:
The Nest Robber, also on show in this gallery.
At the time, however, it was believed to be a
work by Pieter Brueghel the younger.
Archduke Leopold Wilhelm also acquired in-
dividual paintings from other collectors and
art dealers in Antwerp. In 1648 he bought this
celebrated portrait by Jan van Eyck together
with a vanitas still-life by Pieter Aertsen
(Christ in the House of Mary and Magda,
Room 16) from the collection of the Antwerp
art dealer Peter Stevens. It probably depicts
Cardinal Albergati, whom the Pope had sent
north in 1431 to try and arrange peace talks
to end the Hundred Years’ War.
Jan van Eyck, court painter to the Duke of
Burgundy, was long regarded as the inventor
of oil painting. This new technique enabled
him to depict details like the Cardinal’s aged
skin, the reflexes in his eyes or the fur trim-
mings on his cloak. Jan van Eyck depicts all
details with great care without getting lost in
them. Despite its small format the portrait
exudes monumentality, which also seems to
reflect the sitter’s strong character.
24
Jan van Eyck (Maaseyck near Maastricht c. 1390–1441 Bruges)
cardinaL niccoLò aLBErgati (1375–1443)
c. 1435oak panel, 34 cm x 29.5 cminv.no. GG 975
// in the Picture Gallery // in the Picture Gallery
27
Frans van Mieris the elder (1635–1681 Leiden)
gEntLEman in a shop
dated 1660 oak panel, 54.5 x 42.7 cminv.no. GG 586
In his Teutsche Academie (German Academy)
published in 1675, Sandrart reports that Leo-
pold Wilhelm paid the enormous sum of 2000
guilders for Gentleman in a Shop, adding that
this was »far too little / for such a handsome
work«. Leopold Wilhelm’s tenure as Gover-
nor of the Spanish Netherlands ended in 1656
and he returned to Vienna; but his acquisi-
tion of this work dated 1660 by the then twen-
ty-five-year-old Frans van Mieris documents
that he continued to keep up-to-date with de-
velopments in the art scene even of the Prot-
estant Dutch Republic. Together with Gerrit
Dou (Rembrandt’s first pupil!), Frans van
Mieris is regarded as the leading representa-
tive of the »Leiden Fijnschilders« (literally
»fine-painters«). Their work is marked by an
almost obsessive focus on the faithful render-
ing of the different materials and surfaces.
The Archduke was also interested in contem-
porary Flemish painting. Anthony van Dyck,
a native of Antwerp, had died in London in
1641, only a few years before Leopold Wilhelm
became Governor of the Spanish Netherlands
in 1647. The Archduke owned ten paintings
by him, among them Thetis Receiving Achil-
les’ Arms from Hephaistos and Study of the
Head of a Woman Looking Up (also in Gal-
lery XI).
Giovanni Bellori recounts that Samson and
Delilah was given to Leopold Wilhelm by »Si-
gnor Van Wonsel«. This probably refers to the
Antwerp cloth merchants Marc and Joos van
Woonsel, who had also procured commissions
for van Dyck. Bellori also recounts that the
Archduke surpassed all his contemporaries in
his knowledge of classical antiquity, medals
and paintings, as documented by his gallery
in the Theatrum Pictorium (see temporary ex-
hibition).
26
Anthony van Dyck (Antwerp 1599–1641 London)
samson and dELiLah
1628/1630canvas, 146 x 254 cminv.no. GG 512
// in the Picture Gallery // in the Picture Gallery
29
Joachim von Sandrart (Frankfurt 1606–1688 Nuremberg)
minErVa and sat-urn protEcting sciEncE and thE arts From EnVy and FaLsEhood
dated 1644 canvas, 146 x 202 cminv.no. GG 1136
Archduke Leopold Wilhelm first met Joachim
Sandrart in 1646 when he visited the painter
in Stockau, his estate in Bavaria. According
to a biographer close to the artist, the Arch-
duke wanted to meet Sandrart after he had
seen some of his works in the Wittelsbach col-
lections. Together they visited the Count Pal-
atine at Neuburg to see his collection of paint-
ings by Rubens. Their acquaintance led to a
number of commissions, among them this al-
legory. The subject, a homage to his patron-
age, was probably selected by the Archduke
himself: the Roman goddess Minerva acts as
the protector of the arts, whose putto-like per-
sonifications flee from the allegories of envy
and falsehood. Clutching shield and scythe,
Saturn (or Chronos) is the god of time who
protects the arts from transience; the deity
may also stand for the hope that time will ex-
pose falsehood and envy.
Leopold Wilhelm owned only one painting by
Jacob Jordaens, the most important Flemish
baroque painter after Rubens and van Dyck
– despite the fact that Jordaens was still alive
during the Archduke’s tenure as Governor of
the Spanish Netherlands. However, this sin-
gle painting, The Bean King, may be regard-
ed as the quintessence of Jordaens’ innova-
tions. Now celebrated as an icon of baroque
joie de vivre, the composition may also con-
tain a direct reference to the Archduke, who
liked to celebrate his birthday (he was born
on January 5, 1614) on Epiphany (January 6);
on that day it was customary in the Nether-
lands to pick the Bean King from among the
guests at a banquet (by drawing lots, or a bean
baked in a cake). Jordaens executed several
versions of this subject, but the painting in Vi-
enna is particularly successful at recounting
an ancient custom in rich and opulent detail,
and in a large format.
28
Jacob Jordaens (Antwerp 1593–1678 Antwerp)
thE BEan king
c. 1640/1645canvas, 242 x 300 cminv.no. GG 786
// in the Picture Gallery // in the Picture Gallery
31
Peter Paul Rubens (Siegen 1577–1640 Antwerp)
stormy Land-scapE With jupi-tEr, mErcury, phi-LEmon and Baucis
c. 1620/1625oak panel, 146 x 208,5 cminv.no. GG 690
In the 1620s Rubens painted this impressive
stormy landscape embellished with mytho-
logical figures purely for his own enjoyment:
it was never sold and was listed in the artist’s
estate after his death in 1640. King Charles I
tried to buy it, but was prevented by the im-
minent outbreak of the English Civil War. But
as Governor of the Spanish Netherlands
Leopold Wilhelm was able to acquire this and
three other paintings from Rubens’ estate (e.g.
Girl with Fan and Isabella d’Este in this gal-
lery); he owned a total of eleven works by
Rubens. Before the artist’s estate was put up
for auction a private sale was arranged for
the King of Spain, which the Austrian
Habsburgs did not attend.
When Leopold Wilhelm bought this St. Je-
rome he acquired – possibly even from the
artist himself – a contemporary work by a
Protestant painter. Born in Lower Saxony or
Hamburg, Christopher Paudiß moved from
Dresden to Vienna in 1660, carrying a recom-
mendation letter from Duke Johann Georg II,
the Elector of Saxony, addressed to the Arch-
duke.
Rembrandt, in whose workshop Paudiß was
active in the 1640s, executed a total of seven
etchings of St. Jerome: one of the Doctors of
the Church, St. Jerome is responsible for the
canonical order of the Hebrew and Greek
Gospels and translating them into Latin; this
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.
30
Christopher Paudiß (Lower Saxony c. 1625–1666 Freising)
st. jEromE
1656/1658canvas, 136 x 124 cminv.no. GG 395
// in the Picture Gallery // in the Picture Gallery
33
Anonymous artist
grEgory thE grEat With scriBEs
Lorraine (?), late 10th centuryivory, h. 20.5 cm, w. 12.5 cminv.no. KK 8399
Even before he became Governor of the Span-
ish Netherlands Leopold Wilhelm had ac-
quired a number of artworks in Vienna, among
them this ivory panel. As the son, brother and
uncle of emperors, Leopold Wilhelm felt a
deep veneration for artefacts from the reign
of Charlemagne. This small ivory panel fea-
turing a depiction of Pope Gregory the Great
– originally the cover of a sacramentary – was
such a relict.
For the Habsburgs owning such an artefact
buttressed their claim to rule as the rightful
heirs to the first post-classical emperor of the
Occident. For Leopold Wilhelm the work’s re-
ligious content probably reflected his numer-
ous bishoprics and appealed to him as a sem-
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.
Leopold Wilhelm acquired The Head of Me-
dusa not for his own collection but for that
of his brother, Emperor Ferdinand III. It was
among the paintings sent to Prague to decorate
the denuded imperial palace, which had been
ransacked by the Swedes; in 1880 it was re-
moved to Vienna. Originally the painting had
been in the collection of George Villiers, Duke
of Buckingham, who had known Rubens and
had owned a total of thirty paintings by him.
In 1628 this influential courtier was assassin-
ated but during the English Civil War his son
was able to bring much of his father’s superb
collection to Antwerp, where Leopold Wil-
helm’s agent, Jan van den Hoecke, acquired
the most important works from the Bucking-
ham Collection – among them Head of Me-
dusa – for the Habsburgs.
32
Peter Paul Rubens (Siegen 1577–1640 Antwerp)
hEad oF mEdusa
1617/1618canvas, 68.5 x 118 cminv.no. GG 3834
// in the Picture Gallery // in the Kunstkammer
35
Master of the Decorated Box tops
tWo circuLar BoxEs dEcoratEd With portraits, and thEir tops FEaturing mytho-LogicaL scEnEs
Nuremberg (?), 1525walnut, pear wood, 22 cm in diam.inv.nos. KK 3878, KK 3879, KK3893, KK3894
These two flat circular wooden boxes are decor-
ated with the portraits of Frederick the Wise,
Elector of Saxony (1463–1525), and his concu-
bine, Anna; in the 1659 inventory of Leopold
Wilhelm’s Kunstkammer they are listed as
works by Albrecht Durer. Note Durer’s celeb-
rated monogramme next to Anna’s portrait.
We can certainly assume some connection
with Albrecht Durer as the portrait of the Elec-
tor is based on Durer’s well-known engraving
depicting him. Today, art historians no longer
believe that Durer worked as a sculptor but
the 17th century was convinced that he had.
Admiration for Durer’s work led to copies in
a number of different media. Every princely
collection had to include works by the celebrat-
ed Renaissance artist, which helped people to
believe in their authenticity.
This bust depicting the Greek muse of sacred
poetry and hymns reflects the period’s admir-
ation for classical antiquity in many ways: sub-
ject-matter, composition, handling and
material. The ancients regarded porphyry as
an exceptional stone that was reserved for the
emperor because of its purple colour; its hard-
ness required exceptional skill. Contemporar-
ies regarded Pietro Maria della Pescia Serbal-
di as a »brilliant imitator of antiquity«, and
legend has it that he once buried some of his
own works in Rome that were later sold as
genuine antiques. It was probably not only
the work’s antique character but also the de-
sire to own classical originals that led to its
description in the 1659 inventory of Leopold
Wilhelm’s collection as »a small bust made of
red, profile of a woman .. antique«
34
Pier Maria della Pescia Serbaldi, called Tagliacarne (Pescia c. 1445 – after 1525 Rom)
poLyhymnia
Rome, c. 1500porphyry, h. 41 cminv.no. KK 3529
// in the Kunstkammer // in the Kunstkammer
In his works Leonhard Kern reflects ideas and
impressions he had brought back from his so-
journ in Italy, but he was also influenced by
early 16th century German art. This figure was
clearly informed both by the Belvedere Torso
in the Vatican and works by Michelangelo,
and by Albrecht Durer’s woodcut Man of Sor-
rows, the title page of his Small Passion.
Leopold Wilhelm’s Kunstkammer also con-
tained a number of sculptures that represent
the 17th century »Durer Renaissance« – retro-
spective works that transpose Durer’s two-di-
mensional compositions (especially his prints)
into the three-dimensional medium sculpture,
i.e. a kind of mimetic re-creation. Deeply in-
terested in Renaissance art, the Archduke was
thus able to satisfy his strong desire to own
works by Durer, which were by then almost
unobtainable.
37
Leonhard Kern (Forchtenberg 1588–1662 Schwäbisch Hall)
pEnsiVE christ
Schwäbisch Hall, c. 1625/35alabaster, h. 25 cminv.no. KK 4429
Almost all the bronzes by Antico now in the
Kunstkammer Vienna are listed in Leopold
Wilhelm’s 1659 inventory.
A cast inscription on the bottom of the base
of Hercules and Antaeus (see image on the
Tablet in Gallery 33 of the Kunstkammer) tells
us that Antico made this statuette for Isabel-
la d’Este, the art-loving Marchioness of Man-
tua (1474–1539) and one of the most important
Renaissance collectors in Italy. As it was al-
most impossible to obtain genuine antique
works she collected Antico’s perfect replicas
of classical sculptures.
In 1627, Vincenzo II Gonzaga, the heavily in-
debted Duke of Mantua, sold parts of his col-
lection to King Charles I of England. Follow-
ing Charles’ execution at the end of the Eng-
lish Civil War, the Commonwealth auctioned
off the royal collection in 1650; this is prob-
ably when and how Leopold Wilhelm acquired
his Anticos.
36
Pier Jacopo Alari de Bonacolsi, called. Antico(Mantua, c. 1460–1528 Gazzuolo)
hErcuLEs and antaEus
Mantua, c 1519bronze, h. 43.2 cminv.no. KK 5767
// in the Kunstkammer // in the Kunstkammer
Leopold Wilhelm’s court painter produced
this small but highly inventive allegory cele-
brating his master. The portrait medallion de-
picts him as a general and a clergyman. The
genius on the left presents a gold medallion
with the Archduke’s personal device »Timore
Domini« (»in fear of the Lord«) to which Fame
clutching her trombone is pointing. To express
her desire for peace, Minerva’s sword does
not have a tip. But the cornucopia in Apollo’s
hands denotes that even in times of war the
god of music and the arts can spread magnifi-
cence and splendour. Facing them, Hercules
with his lion and Prudentia, the goddess of
wisdom, illustrate some of the Archduke’s vir-
tues, which also include celibacy, symbolized
by the unicorn and blindfolded Cupid.
39
Attributed to Jan van den Hoecke (1611–1650 Antwerp)
aLLEgory cELE-Brating arch-dukE LEopoLd WiLhELm (1614–1662)
c. 1650canvas, 50.8 cm x 70.5 cm x 2.5 cminv.no. 9682
Archduke Leopold Wilhelm probably com-
missioned this large-scale still-life from the lit-
tle-known artist. The first thing the spectator
notices is the decorative pattern of the orien-
tal carpet spread over the table. Leopold Wil-
helm’s bust is given pride of place. Libalt was
inspired by a marble bust by the sculptor
Jérôme II Duquesnoy (KK 8932; the original
is displayed next to the painting in Gallery 23
of the Kunstkammer; the bronze copy is on
show in the special exhibition). In the bust,
the Archduke stares into the distance, empha-
sizing the portrait’s formal, timeless charac-
ter; Libalt, however, has brought it to life by
changing the Archduke’s focus, who is now
melancholically gazing at us. The composi-
tion’s focus on realistic, haptic impressions is
transformed into a sumptuous still-life imbued
with a political-allegorical meaning.
38
Gottfried Libalt (c. 1610–1673 Vienna)
stiLL LiFE With a Bust oF arch-dukE LEopoLd WiLhELm
dated 1660 canvas, 253 x 119 x 4 cminv.no. 7795
// in the Kunstkammer // in the Kunstkammer
»ein galeria nach meinem humor«Gerlinde Gruber
Die Galerie Erzherzog Leopold Wilhelms
Rotraut Krall
Amator artis pictoriae – what else?
Konrad Schlegel
Erzherzog Leopold Wilhelm –
im Dialog zwischen der Kunsthistorikerin
Rotraut Krall und der
Historikerin Renate Schreiber
Das »Theatrum Pictorium« und die
Zelebrierung der Italienischen Kunst
Francesca del Torre Scheuch
»Inuito alla guerra« – Leopold Wilhelm
als Feldherr
Stefan Krause
Das Galeriebild: ein Gemälde zum
Ruhm des Sammlers
Gerlinde Gruber
Amator artis pictoriae – what else?
Konrad Schlegel
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