Liechtenstein, a tiny three-hundred-year-old nation, lies nestled between Austria and Switzerland and today is the only surviving monarchy of the German-speaking countries. The princes of Liechtenstein have been collecting art from the early seventeenth century. Their palaces at Moravia, Feldsberg and Vienna are important examples of Baroque architecture; work was commissioned from outstanding artists of their time to enhance these palaces. Somehow, the Liechtenstein collection has managed to remain intact to this day despite the turmoil and upheaval that has occurred in Europe during the past three centuries.
The collection is noted for nineteen outstanding painting by Peter Paul Rubens, thought to be the finest works by that artist remaining in private hands, five works by Anthony van Dyck, great Renaissance and Baroque sculpture, fine porcelains, carved ivories and an assemblage of decorated firearms used for hunting. A major portion of this collection is on loan to the Metropolitan Museum of Art in New York, where it will be on view until May 1, 1986.
The exhibit commences with a Portrait of Joseph Wenzel von Liechtenstein by Hyacinthe Rigaud, a major portrait painter of his day, done about 1740. The prince, every inch a regal figure, is resplendent in armor and flowing velvet and ermine robes, with the Order of the Golden Fleece dangling from his neck. Prince Wenzel was known for excellence as a soldier and statesman, and as a connoisseur and collector of art.
The first gallery is designed to evoke a reception hall in the Garden Palace in Vienna where the Liechtenstein collection has been housed since the nineteenth century. Shown here are a series of eight canvases depicting the myth of Adonis and Diana, commissioned from the Bolognese master Marcantonio Franceschini around 1700. These are rich, dramatic works of enormous scale, a number of them attaining fifteen feet in height.
Two paintings by Bernard Belotto are of special interest, as they depict exterior views of the Liechtenstein Garden Palace in Vienna and offer documentation of the appearance of that structure during 1759-60, and also show Prince Joseph Wenzel with his family, servant and pets.
Another intriguing work is a pencil, pen and ink, and gouache drawing on vellum that was created for the sole purpose of recording the existence and condition of the crown jewels of the principality of Liechtenstein. Although the crown which is represented has not survived, the drawing, dated September 1, 1756, has.
Several beautiful pieces of Florentine mosaic pietra dura work are exhibited. Two tabletops of inlaid semi-precious stone, marble and garnets set in gilt bronze, and a small casket with twenty-four panels of mosaics arranged within an architectural framework are exquisite examples of this technique. The imagery of this work is either landscapes, geometric designs or naturalistic objects such as flowers, birds or butterflies. Dating from the early seventeenth century, it is interesting to note that the craft of pietra dura is practiced in Florence to this day.
Another superb specimen of seventeenth century craftsmanship is a vase with cover, carved out of one thirty-five pound piece of smokey crystal by Dionysio Miseroni. The present gilt bronze
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