Rue du Rhône
LGT. A piece of Liechtenstein
in the heart of Geneva.
Cover picture: Portrait of Prince Johann I of Liechtenstein
The Princely Collections
Johann Baptist Lampi, detail from “Portrait of Prince Johann I of Liechtenstein,“ 1816
Please see page 23 of this brochure for detailed information about the cover picture.
For more than four hundred years, the Princes
of Liechtenstein have been passionate art
collectors. The Princely Collections include key
works of European art stretching over five centuries and are now among the world’s major
private art collections. The notion of promoting fine arts for the general good enjoyed
greatest popularity during the Baroque period.
The House of Liechtenstein has pursued this
ideal consistently down the generations.
© LIECHTENSTEIN. The Princely Collections, Vaduz-Vienna
We make deliberate use of the works of art
in the Princely Collections as imagery to
accompany what we do. For us, they embody
precisely those values that form the basis for
a successful partnership with our clients:
a long-term focus, skill and reliability.
www.liechtensteincollections.at
3
Welcome
A warm welcome to our Geneva office at Rue du Rhône 21.
Following a complete renovation in 2014 our employees
in Geneva were able to move into the fully refurbished
premises as scheduled. When we began planning the renovation in 2010, we had an ambitious goal: we wanted to
set a new standard for sustainability in a renovation project.
Today I can confirm that we achieved this lofty ambition.
Rue du Rhône 21 is our first building to comply fully with
the sustainability strategy that we formulated in 2010.
We have significantly reduced its environmental impact
by using the latest technology, and can now offer our
employees and clients not only a fantastic view of Lake
Geneva but also a very pleasant and inspiring environment.
This project at our Geneva branch is representative of our
fundamental outlook as a family-run private bank: we think
and act in terms of generations. Sustainability is an integral
part of this philosophy. Our cross-generational thinking is
also reflected in the interior design of our Geneva branch:
each of the eleven client meeting rooms on the top floor
is named after a different head of our family from the last
five centuries and features details of a work of art from the
Princely Collections of that era. We look forward to
welcoming you to these very special rooms.
H.S.H. Prince Max von und zu Liechtenstein
CEO LGT
4
Bound to history
“Only someone who knows where
he has come from knows where he
is going.”
Theodor Heuss
One of the rooms bears the name of Prince Joseph Wenzel I of
Liechtenstein. Geneva, city of diplomacy and headquarters of
the United Nations, would definitely have appealed to him.
Himself an ambassador at the court of Louis XV in Versailles,
his name has now been given to one of the meeting rooms at
the new LGT office in Geneva.
This is the credo embodied by the owners of LGT, the Princely
Family of Liechtenstein. It has built up one of the most impor-
In our meeting rooms, our visitors can now experience and
tant private collections in the world, over many generations
learn about the centuries-old tradition and history of the
and with thoughtfulness and expertise, and preserved it for
Princely House in a very real way – as well as enjoying the
posterity. Today, the Princely Collections include major works
magnificent view of the city and Lake Geneva that has been
of European art from five centuries.
cleverly incorporated into the design of the interior.
Creating, preserving and increasing value across the genera-
For us as a private bank, the works from the Princely Collections
tions is also the core purpose and raison d’être of our activities
symbolize timeless values like tradition, continuity and the high
in Private Banking and Asset Management. At our new office
standards we set ourselves. These values are once again very
on Rue du Rhône in Geneva, we want to express this ethos in
topical in the banking world. History and the past can open our
a very special way: we have named each of the eleven meeting
eyes to the present and show us the way forward to the future.
rooms on the top floor after one of the Princes of the House
of Liechtenstein, as shown on the following pages. Pictures of
works of art from the collection dating from the relevant era
will give each of these rooms a distinctive and very personal feel.
Sustainable refurbishment
The building designed in the 1960s by the Geneva architect MarcJoseph Saugey was completely refurbished between 2013 and 2015
to comply with the Minergie standard. The environmentally friendly
heating, ventilation and cooling system is powered by lake water,
which leads to significant reductions in both energy consumption and
CO 2 emissions. Additional energy-saving measures include the solar
panels on the flat roof and a lighting system based on LED technology.
Altogether, the complete refurbishment has reduced the building’s
energy consumption by 40 to 45 percent. The solar panels also
generate 45 000 kW of electricity each year.
5
Franz Josef I
page 19
Alois I
page 21
Johann I
page 23
Alois II
page 25
Johann II
page 27
Staircase
Elevator
Office
Reception area
Joseph
Wenzel I
page 17
Anton Florian I
page 15
Johann Adam
Andreas I
page 13
Karl
Eusebius I
page 11
Top floor layout, Rue du Rhône 21
History is also about the passage of time. If you would like to
pass some time with us, we would be glad to invite you for a
tour of the princely rooms.
Karl I
page 9
Hartmann II
page 7
Hans Mielich, detail from “Portrait of Ladislaus of Fraunberg, last Count of Haag,“ 1557
7
Baron Hartmann II
of Liechtenstein
In 1568, Baron Hartmann II of Liechtenstein (1544–1585)
married Anna Maria, Countess of Ortenburg, niece of Count
Ladislaus of Haag, who had his portrait painted, with his leopard, by Hans Mielich (1516–1573) in 1557. As an enthusiastic
book collector, he had his collection bound in leather to his
own design and he commissioned fine embossed and gilded
work which made the books especially precious. Some of these
volumes are still to be found in the Princely Library and reflect
the Baron’s curiosity about all kinds of different fields of knowledge. As well as paintings and books, he is likely to have
collected other valuable objects.
Having received goods in fealty (in exchange for service) in
Austria, Baron Hartmann II advanced to become a highly regarded confidant at the courts of Emperors Maximilian II
“…brought up from their youth to be
God-fearing, virtuous and skilled in the
arts befitting their status...”
Baron Hartmann II of Liechtenstein in his last will and testament,
on the upbringing of his sons
Peter van Roy, detail from “Portrait of Baron Hartmann II
of Liechtenstein,“ 1711
Liechtenstein, is fashionably dressed in the Spanish style that
was popular at the time. His tunic is lavishly decorated with
gold embroidery, while his pose is that of a proud man: one
hand is reaching for his sword, while the other rests on a table
and Rudolf II, a mediator in Austro-Moravian border disputes
covered with an Anatolian carpet. Through the open window
and a provider of credit to the emperors. In 1575, he suc-
of the chamber in which the dignified nobleman, bedecked
ceeded in buying back the baronial estate of Eisgrub that
with gold chains, is standing, his palace in a winter landscape
had been sold a few years previously. It was there that Baron
can be seen. The room is decorated with numerous objects
Hartmann II died in autumn 1585, leaving instructions in his
relating to the subject of the painting: his name and coat of
will for how his children should be brought up and educated.
arms with the motto With work and God’s help (Cum labore et
He also instructed them to honor the family name and pre-
deo ivvante) are depicted in stained glass, the trophies of a bold
serve the standing of the dynasty.
warrior hang on the wall and the arrangement of a crucifix,
hourglass and skull with the motto Death takes all (Mors omnia
Portrait of Ladislaus of Fraunberg
rapit) is intended as a reminder of the transience of life. An
This life-size portrait, signed and dated by the artist Hans
unusual feature is the Count’s companion, a leopard with its
Mielich (1516–1573) from Munich, became one of the very
owner’s initials embossed in gold letters on its impressive collar.
first paintings to find its way into the collection of the Princes
Gundaker of Liechtenstein wrote in 1640 of a tiger-like animal,
of Liechtenstein. Ladislaus of Fraunberg, the last Count of
always by his side like a dog, which Ladislaus of Fraunberg had
Haag and the uncle of the wife of Baron Hartmann II of
received as a gift from his Italian relatives.
Workshop of Castrucci, detail from “Pietra tabletop,“ 1620/1623
9
Prince Karl I
of Liechtenstein
Prince Karl I of Liechtenstein (1569–1627), the eldest son of
Baron Hartmann II, was carefully brought up, studied in Geneva
and went on a cultural tour through France, before taking up
his father’s inheritance in 1591. He began his career in imperial
service as treasurer to Archduke Matthias (1557–1619), before
being summoned to Prague as Chief Intendant at the court of
Emperor Rudolf II (1552–1612) and finally honored with the
hereditary title of Prince. Through his involvement in politics,
the first Knight of the Order of the Golden Fleece to come
from the Liechtenstein family was able to observe the creation
of works at Rudolf’s court.
As well as numerous paintings by the artists at the Prague
court, many other objets d’art found their way into Prince
Karl I’s collection. These included works by jewelers and master
goldsmiths as well as stone carvers. The Dutch sculptor Adriaen
“…that you apparently have some
outstanding and rare artworks and
paintings...”
In September 1597, Emperor Rudolf II wrote to Prince Karl I
of Liechtenstein that he had heard about the treasures in
his collection.
Unknown artist, detail from “Portrait of Prince Karl I
of Liechtenstein,“ c. 1625
The design of the tabletop is structured with strips of jasper,
decorated with inlaid tetrahedrons, flowers and little animals
such as lizards, frogs, caterpillars, snails and butterflies. In the
corners is the letter “C,” the customer’s initial, while the letter
“F” refers to his patron, Emperor Ferdinand II, who in January
1622 appointed him Viceroy of Bohemia.
de Vries (1556–1626) was commissioned to make sculptures
for both Emperor Rudolf II and Prince Karl I. The statues of
The table was described in the “Guardaroba inventory” of
“Christus im Elend” (Christ in Distress) and “Saint Sebastian”
Prince Karl Eusebius I of Liechtenstein in 1658: item, a fine
are still in the Princely Collections today. When the Prince died,
square stone table, inlaid with different colors, set with many
Emperor Ferdinand II said he had “...a special love of beautiful
garnets, together with a coarse wooden base. In 1705, a
things…“, underlining his passion for precious and unusual
carved base was made for the table in the style of the time
works of art.
by the Italian sculptor Giovanni Giuliani (1664–1744), who
worked for Prince Johann Adam Andreas I (1657–1712) at
Pietra tabletop
The tabletop was made in the Prague workshop of the Italian
Castrucci family, out of “commessi di pietre dure” – inlaid
stone – for Prince Karl I of Liechtenstein. The small sections
edged with garnets depict landscapes, trophies and geometric shapes, while in the middle is the Prince’s coat of arms.
the Garden Palace and the City Palace.
Dionysio Miseroni, “Maienkrug of Prince Karl Eusebius of Liechtenstein,“ 1639/40
11
Prince Karl Eusebius I
of Liechtenstein
The life of Prince Karl Eusebius I (1611–1684) was particularly
characterized by the princely virtue of curiositas. In 1632, at
the age of 21, after going on the Grand Tour that was expected
of young aristocrats which took him to the Netherlands and
France, he took over the responsibilities of head of the House
of Liechtenstein. His aim was to preserve and enhance the
status and reputation of his family.
His special interests were architecture, acquiring paintings and
objets d’art, and breeding horses. Even during the politically
turbulent times of the Thirty Years’ War which put the family’s
finances under severe strain, he was not afraid to lay the foundations for the Princely Family’s art collection. In his acquisitions
“…to be and remain art lovers as
befits their princely status, so that they
become famous for owning things that
not everyone has.”
Prince Karl Eusebius I, Book on Architecture
Unknown artist, detail from “Portrait of the young Prince Karl
Eusebius I of Liechtenstein,“ c. 1630
turn the precious stone into a vessel in the shape of a
Maienkrug (vase with lid), as big as the stone allowed,
and he performed the task in accordance with his contract.
and in the works he commissioned himself, he showed a refined
The inventory for the Princely Silver Collection for 1678
taste, an understanding of art and an appreciation of the
describes a version made of smoky quartz, but this did not
famous masters.
survive the Napoleonic Wars in about 1800, and the current
version in bronze and gilded silver, decorated with enamel,
Last but not least, he is also remembered by posterity as the
was commissioned in 1810.
author of various works on the education of princes, architecture and horse breeding. These are still to be found today in
Dionysio Miseroni came from a family of craftsmen who had
the archives of the Princely Family, and they reflect the mindset
specialized in gem cutting for generations. His grandfather
of an exceptionally well-educated and sophisticated prince.
Gasparo Miseroni (1518–1573) of Milan, and his father Ottavio
Miseroni (1567–1624), who was summoned by Rudolf II to the
Maienkrug
court in Prague, created masterpieces of gem cutting that
For this object, the story of how it was commissioned and its
became part of the Imperial Collections in Vienna. Prince Karl I
history to this day are well documented. On March 1, 1638,
had already commissioned vessels from this workshop and his
Prince Karl Eusebius I acquired a crystal and on September 10
son Karl Eusebius I continued the tradition – he gave instruc-
of the same year Dionysio Miseroni (1607–1661) was contrac-
tions for this “Maienkrug” to bear the coat of arms of the
ted to cut it. The Italian stonecutter had a year in which to
House of Liechtenstein.
Peter Paul Rubens, detail from “Venus in front of the mirror,“ c. 1613/1614
13
Prince Johann Adam
Andreas I of Liechtenstein
During the Baroque period in Vienna, Prince Johann Adam
Andreas I (1657–1712) was one of the leading property owners
and employed not only the Salzburg painter Johann Michael
Rottmayr (1654–1730) but also numerous Italian artists on the
interior design of the Garden Palace in the Rossau district and
the City Palace next to the Emperor’s Hofburg palace. Marcantonio
Franceschini (1648–1729) and Antonio Bellucci (1654–1726)
created paintings, the master of illusionist architectural art in
Rome, Andrea Pozzo (1642–1709), produced the ceiling fresco
in the Hercules room in the Garden Palace, and Giovanni
Giuliani (1664–1744) contributed sculptures for both palaces.
The Prince was able to add a large number of acquisitions to
the existing art collection, not only as one of the leading commissioners of new works, but also as a well-known collector.
“There is barely a prince, minister or
nobleman who does not live in a fine
house. But among them all, the palace
that Prince Adam of Liechtenstein is
having built stands out, for it can be
said without hypocrisy that he spares
no expense in making it magnificent.”
Casimir Freschot, 1705
Peter van Roy, detail from “Portrait of Prince Johann Adam Andreas I
of Liechtenstein,“ 1706
in the mirror, so that the observer experiences this vision of
feminine beauty virtually from all sides. The Flemish Baroque
painter’s depiction of the different textures of the objects in
his composition is masterly, as he plays with the effects of the
light on the soft skin, shining hair and different fabrics. Venus’s
son, Cupid, holds the mirror at just the right height for the
goddess to watch the observer, maintaining a coy distance
as she performs her toilet, but nevertheless interested
Among his notable additions were works by the Flemish Baroque
and engaging.
painter Peter Paul Rubens (1577–1640) and his gifted pupil
Anthony van Dyck (1599–1641). Prince Johann Adam Andreas I
A wonder of the world… is how the Dutch poet Constantijn
commissioned and collected all three genres of art: architecture,
Huygens described the art of the painter Peter Paul Rubens
painting and sculpture.
in 1629 and therefore during his lifetime. Rubens spent eight
years working for the aristocratic Gonzaga family in Mantua
Venus in front of the mirror
and during that time studied the brushstrokes, choice of
Peter Paul Rubens painted this picture of Venus, the goddess
colors and compositions of the Italian masters. On his return
of love and beauty, a few years after his visit to Italy in 1608.
to Antwerp he combined the traditions of Flemish art with
He used a feature that was very popular in Italian Renaissance
those of the ancient world and the Renaissance so success-
painting, a mirror. This enabled Rubens to enhance his image
fully that his works were celebrated and highly praised by
of the goddess’s nude back by showing her face reflected
his contemporaries.
Johann Georg von Hamilton and Anton Faistenberger, detail from “Portrait of a Piebald horse from the stud of Eisgrub,“ c. 1700
15
Prince Anton Florian I
of Liechtenstein
Prince Anton Florian I (1656–1721) was appointed to the Privy
Council by Emperor Leopold I (1640–1705), sent as Envoy to
the Papal Court in 1689 and promoted to Ambassador in 1691.
He was the first representative of the Emperor in Rome who was
“…Your Serene Highness and great
connoisseur of the fine arts…”
Gottfried Wilhelm Leibniz in a letter to
Prince Anton Florian I, 1714
not in holy orders. For his arrival in Rome, which was recorded
in both writing and paintings, he not only had opulent ceremonial
carriages built but also brought horses from the Eisgrub stud
to the city on the Tiber.
During his time in Rome, he enjoyed close contact with the
city’s artists, and Prince Anton Florian I succeeded in commis-
Unknown artist, detail from “Portrait of Prince Anton Florian l
of Liechtenstein,“ c. 1625
sioning Andrea Pozzo (1642–1709) to paint the frescos in the
main hall of the Garden Palace in the Rossau district: between
The stallion is shown performing a levade, rearing up, with his
1704 and 1708, he created scenes from the life of Hercules
coat painted in every detail and the mane not only carefully
and the hero’s apotheosis.
plaited but decorated with blue ribbons. According to a catalog
in the Liechtenstein Gallery, the horse came from the Eisgrub stud.
It was not only his properties in the Emperor’s home city that
were close to Prince Anton Florian I’s heart. Spurred by his
The stud was famous for horse breeding far beyond the borders
keen interest in architecture and horse breeding, he commis-
of the Habsburg empire. It housed up to 120 stallions of differ-
sioned his court architect Anton Johann Ospel (1677–1756)
ent breeds and the stable complex was described as palace
not only to redesign his palaces in Feldsberg, Wilfersdorf and
for horses.
Ebergassing, but also to restyle the riding school in Feldsberg.
Portrait of a Piebald horse from the stud of Eisgrub
This painting of a piebald stallion was part of a series of six pictures of horses that Johann Georg von Hamilton (1672–1737)
painted in 1700 for the interior of the newly built Garden Palace
in the Rossau district. Some years later, the landscape artist
Anton Faistenberger (1663–1708) added a natural backdrop
to four of the paintings.
Nicolas Pineau, detail from “The Golden Carriage of Prince Joseph Wenzel I. of Liechtenstein,“ 1738
17
Prince Joseph Wenzel I
of Liechtenstein
Prince Joseph Wenzel I (1696–1772) was both a highly regarded
diplomat and a sophisticated connoisseur of art in the Baroque
period. He deployed his outstanding strategic and organizational
skills with great success in the service of the imperial family.
A high point of his career was reached when he was appointed
ambassador in Versailles in December 1738. The Golden Carriage that was commissioned for the occasion, his splendidly
bedecked entourage and the magnificent piebald horses from
“Ambition was a leading trait in his
character – he prized honor more than
life or wealth.”
Johann Pezzl about Prince Joseph Wenzel I, 1792
his own stud at Eisgrub caused a sensation and held spectators
spellbound. While in Paris, Joseph Wenzel acquired numerous
Hyacinthe Rigaud, detail from “Portrait of Prince Joseph Wenzel I
of Liechtenstein,“ 1740
paintings for the Princely Collection and also twice had his
portrait painted by the French court painter Hyacinthe Rigaud
in Vienna has been preserved. When the Prince made his entrée
(1659–1743), in the pose of a self-assured statesman.
publique in 1738, there were 58 pageboys and servants dressed
in sumptuous and richly embroidered livery in his retinue. His
Not least among his achievements, he was also responsible
magnificent arrival attracted a great deal of attention in France.
for the extensions to the palace at Feldsberg by the architect
Anton Johann Ospel (1677–1756) and for the first catalog of
The state carriage was used again in 1760 for the wedding
the Princely Collection of paintings.
procession in Vienna on the occasion of the marriage of
Emperor Josef II (1741–1790) to Isabella of Parma-Bourbon
When he died in Vienna 1772, Maria Theresia (1717–1780),
(1741–1763). The newspaper Viennese “Diarium” gave a
ruling sovereign of the House of Habsburg, wrote letters of
detailed report of this event: No pen can adequately describe
condolence with her own hand and expressed her esteem
the pomp and splendor with which this festive and extremely
with the following words: He was one of those men, the like
happy day was celebrated…
of which we will not see again.
The painted panels of the Rococo-style carriage depict allegoThe Golden Carriage
ries of the four seasons and the four elements, represented by
In 1737, the Parisian craftsman Nicolas Pineau (1684–1754) was
putti at play. The interior of the carriage is decorated with red
commissioned to produce several ceremonial carriages for the
velvet, embroidered with gold and silver thread.
arrival of Prince Joseph Wenzel I in Versailles. Only the Golden
Carriage that is still on display in the Liechtenstein Garden Palace
Friedrich Oelenhainz, detail from “Portrait of the future Prince Johann I of Liechtenstein,“ 1776
19
Prince Franz Josef I
of Liechtenstein
Prince Franz Josef I (1726–1781) received a great deal of support
from his uncle, Prince Joseph Wenzel I, who also influenced his
nephew’s interests. He accompanied his uncle on military and
diplomatic missions and in 1772 became head of the family.
Thanks to an inheritance from his aunt, Princess Maria Theresa
of Savoy (1694–1772), the family’s wealth was multiplied.
“…the gallery of his Highness François
Joseph, head and ruling prince of the
House of Liechtenstein…”
Johann Dallinger of Dalling, Catalogue of paintings and
sculptures of the gallery of Prince Franz Josef I of Liechtenstein,
Vienna 1780
During his reign, the collections were located in the Viennese
palaces on Herrengasse and Bankgasse. In 1780, Prince Franz
Josef I instructed his gallery inspector, the artist Johann Dallinger
Alexander Roslin, detail from “Portrait of Prince Franz Josef I
of Liechtenstein,“ 1778
of Dalling (1741–1806), to catalog the Princely Collection of
paintings. The technique and subject of each were recorded in
For the background, Oelenhainz used a semi-circular architec-
French. Importantly, for paintings displayed in the Bankgasse
tural structure in classical style, with plants growing over it in
palace, their location was noted. This means that we can still
places. The Prince, dressed in a sumptuous outfit, is shown
trace today how they were originally hung in Baroque times.
seated at a table on which books, drawing instruments and
sheets of paper are arranged. He is looking at the observer
Prince Franz Josef I had the Baroque sculptures by Giovanni
and pausing in his task of copying or sketching the bust of
Giuliani (1664–1744) removed from the park of the Garden
a lady that is positioned in front of him. A slight smile plays
Palace, in order to have the grounds redesigned as a land-
around his mouth.
scaped garden. He also acquired Asian porcelain objects from
China and Japan which he had mounted by the Viennese
The painter Friedrich Oelenhainz was born in Endingen in
silversmith Johann Nepomuk Würth (1753–1811).
Württemberg and specialized in portraits. His travels took him,
among other places, to study at the Academy in Vienna. There
Portrait of the future Prince Johann I of Liechtenstein
he advanced rapidly to become one of the favorite artists of
Prince Franz Josef I of Liechtenstein commissioned the Swiss
the aristocracy and the upper class. For his portraits of members
artist Friedrich Oelenhainz (1745–1804) to paint eight portraits
of the Princely Family, he chose gentle, delicate colors that were
of his family, including this likeness of the future Prince Johann I.
typical of the Rococo style.
The portraits were originally part of the wall decoration in one
of the rooms of the palace at Eisgrub.
Elisabeth Vigée-Lebrun, detail from “Portrait of Princess Karoline of Liechtenstein,“ 1793
21
Prince Alois I
of Liechtenstein
Prince Alois I (1759–1805) always showed a great deal of interest
in agriculture and in enlarging his estates. He also bought many
books, increased the collection of paintings and was a patron of
music and the theater. It was he who began the endeavor to
redesign the area between Eisgrub and Feldsberg which was
completed by his brother Prince Johann I.
The extensive parkland was enhanced with exotic plants from
all regions of the world and adorned with the works of the
architects Joseph Hardtmuth (1758–1816) and Joseph Kornhäusel (1782–1860): nature and architecture combined to
form a harmonious ensemble.
Prince Alois I was responsible for altering and restoring the
palace on Herrengasse where a famous library was situated.
The collection of rare and precious books was regarded as the
Eduard Ströhling, detail from “Portrait of Prince Alois I of Liechtenstein,“ 1794
“…and the Prince told me he had had
a pair of pretty little shoes placed
under the portrait which, as he told his
grandparents, had just slipped off her
feet and fallen to the ground.”
Elisabeth Vigée-Lebrun in her memoirs, 1793
The circumstances surrounding the painting of the portrait
can be found in the “Souvenirs,” the artist’s memoirs. Elisabeth Vigée-Lebrun, court painter of the French queen Marie
Antoinette (1755–1793), had turned her back on Versailles as
a result of the turmoil of the French Revolution and settled in
Vienna, where she had a studio near the Schönbrunn Palace.
About the commission by Prince Alois I she wrote: The young
Princess had a fine figure, her charming face had a sweet,
second most important after the imperial counterpart and
heavenly expression, which gave me the idea of depicting
comprised over a hundred thousand volumes. In 1914, the
her as Iris; I painted her full-length as if lifting into the air,
contents were transferred to the Garden Palace before the
with her sash in rainbow colors floating round her.
building on Herrengasse was demolished.
The artist also wrote that she had painted the Princess with
Portrait of Princess Karoline of Liechtenstein
bare feet, but when the painting was hung, the older members
Elisabeth Vigée-Lebrun (1755–1842) painted two large-scale
of the family had been offended that she had shown the Prin-
portraits for the palace on Herrengasse in Vienna that was altered
cess with no shoes. Consequently her husband placed a pair of
and partially rebuilt by Joseph Hardtmuth between 1788 and
shoes underneath the picture, as a humorous and elegant way
1792. Princess Maria Hermenegilde (1768–1865) was depicted
of countering the criticism.
as Ariadne on Naxos and Princess Karoline (1768–1831), the wife
of Prince Alois I, as Iris, whose symbol was the rainbow in
Greek mythology.
Pieter Brueghel the Younger, detail from “The Census at Bethlehem,“ c. 1600/10
23
Prince Johann I
of Liechtenstein
Prince Johann I (1760–1836) ended his military career in 1810
with the rank of Field Marshal and from then on dedicated
himself to art and maintaining his estates. He continued the
projects started by his brother, Prince Alois I, and completed
the design of the landscaped garden between Feldsberg and
Eisgrub. His passion for garden design led him to plant pine
groves around the family seat at Hinterbrühl and he also laid
out other parks on his estates.
Thanks to his involvement, the idea of transferring the picture
gallery displaying the Princely Collection to the Garden Palace
became a reality and in 1807 he opened the museum to interested visitors. The park was also converted into a landscaped
“…probably the greatest aedile
(responsible for public buildings in
Ancient Rome) and horticulturalist not
only in his own country but among all
his contemporaries…”
Josef Haderer about Prince Johann I, 1829
Johann Baptist Lampi, detail from “Portrait of Prince Johann I
of Liechtenstein,“ 1816
The brothers worked in their father’s studio and were influenced
by his compositions. While Jan Brueghel the Elder made a name
for himself painting landscapes and still-life pictures of flowers,
his brother followed in the footsteps of his father and emulated
garden and opened to the Viennese people, boasting attrac-
both his subjects and his style. Importantly, thanks to his copies
tions such as the Belvedere by the Baroque architect Johann
of his father’s pictures, an impression remains of some of the
Bernhard Fischer von Erlach (1656–1723) that was still standing
works that have since been lost.
at the time, and greenhouses full of rare plants.
With the Census painting, Pieter Brueghel the Younger copied
Prince Johann I encouraged contemporary artists like Heinrich
a work by his father that is still to be seen in Brussels and was
von Füger (1751–1818), who painted portraits of his children,
signed in 1566. There are supposed to have been more than ten
and added many new acquisitions to the collection, including
copies of that painting, an indication of the esteem in which it
works by Old Masters.
was held.
The Census at Bethlehem
The Census at Bethlehem, described in Luke’s Gospel, takes
Pieter Brueghel the Younger (1564–1638) and his brother Jan
place in the setting of a snowy Dutch village. The detail of the
Brueghel the Elder (1568–1625) were the sons of the famous
painting is such that it tells a story about the everyday village
Dutch artist Pieter Brueghel the Elder (c. 1525–1569), greatly
scenes in which the protagonists Joseph and Mary, the latter
celebrated for the insights he provided into the lives of country
riding on a donkey, play a part.
people and for his depictions of different traditions and seasons.
Friedrich von Amerling, detail from “Portrait of Princess Marie Franziska of Liechtenstein at the age of two,“ 1836
25
Prince Alois II
of Liechtenstein
Prince Alois II (1796–1858) of Liechtenstein had a preference
for English culture and thus had two of his palaces redesigned
in historical styles that were regarded as particularly elegant
in Great Britain at the time: the palace in Eisgrub was rebuilt
in neo-Gothic style, and the palace in Vienna’s town center in
neo-Baroque style. Countless specialists in furniture, textiles
and carpentry were employed on the interiors there for years,
under the guidance of the British architect Peter Hubert Desvignes (1804–1883). Michael Thonet (1796–1871) made the
floors of the state rooms using the bentwood technique, for
the first and only time. During the renovations, the family lived
in the Palais Rasumofsky, the rooms of which were depicted in
watercolors by the artist Rudolf von Alt (1812–1905), giving us
“He himself (...) a devotee of the arts,
he did things on a large scale, and loved
to make everything magnificent, just as
perfect and complete as was possible
for the artists and craftsmen of his day.”
Jacob of Falke, librarian to the Prince, about Prince Alois II
of Liechtenstein, 1882
Friedrich von Amerling, detail from “Prince Alois II of Liechtenstein in the
regalia of the Order of the Golden Fleece“, 1845
Marie Franziska was painted at the age of two, a peaceful
image of a child sleeping. Her head is resting on a cushion,
her cheeks are slightly reddened, the curls playing round
her face shine in the light and the Princess’s arm is holding
an impression of the lifestyle of the Princely Family. The open-
her doll tightly. The portrait is a particularly successful com-
ing of the refurbished palace was celebrated in February 1847
position in which the artist has captured the peace and
with a lavish ball, reported with eulogies in the Viennese press.
contentedness of the delightful little girl extremely skillfully
with his brush strokes.
Prince Alois II was also very interested in the art of painting and
allowed members of his family to be painted by the masters of
A few years later, Peter Fendi (1796–1842) painted delicate
the Biedermeier period not only in portraits but also in scenes
watercolors of Princess Marie Franziska and her sister, Princess
from everyday life.
Karoline, at the Eisgrub palace, once again recording intimate
moments in the lives of members of the Princely Family.
Portrait of Princess Marie Franziska of Liechtenstein
In 1836, Friedrich von Amerling (1803–1887) was commissioned
to paint portraits of the children of Prince Alois II: Karoline, Sophie,
the five-year-old Hereditary Prince and later Prince Johann II on
a grey pony, and Marie Franziska (1834–1909). At that time the
family were living in the Palais Rasumofsky while the palace in
the town center was being renovated.
Georg Ferdinand Waldmüller, detail from “Roses,“ 1843
27
Prince Johann II
of Liechtenstein
Prince Johann II (1840–1929) dedicated himself to artistic affairs
throughout his life. He added numerous acquisitions to the
Princely Collection and donated high-quality works of art to
Viennese art galleries, including the gallery of the Academy of
Fine Arts. The City Museum in Vienna has the Prince to thank
for its extensive collection of paintings from the Biedermeier
“For what purpose am I a prince,
if I cannot give.”
Prince Johann II
period. In purchasing, hanging and displaying the objects in
his own palaces, he was advised by the Biedermeier artist
Friedrich von Amerling (1803–1887) and the Berlin art historian
Wilhelm von Bode (1845–1929). He also gave instructions for
the holdings of the collection to be cataloged and the catalog
published. The furniture and objets d’art that he displayed in
John Quincy Adams, detail from “Portrait of Prince Johann II
of Liechtenstein,“ 1908
the Garden Palace created a personal and intimate impression
and reflected the Prince’s excellent taste. He had the Princely
Reality was the model that served as the source for his inspi-
Family’s castles in Vaduz and in Hinterbrühl near Vienna recon-
ration. In this still-life with roses, Waldmüller combined rich
structed in accordance with the historical style popular at the
shades of pink with the green tints of the leaves and the reflective
time, namely as show castles.
surfaces of the precious silverware. His depiction of the different stages of fullness of the roses, from buds to heavy flowers,
It is not only in his acquisitions, donations and support for scien-
and the careful use of shadow, create an incredibly realistic
tific research that the generosity of Prince Johann II can be seen;
effect. Waldmüller remarked several times in his writings on his
he also gave donations to charitable institutions, marking him
special access to nature as a model: Nature is so rich, so diverse
out as a true philanthropist.
and transient that none other than the eye of a talented artist
can discover such wealth and exploit such fullness.
Roses
Georg Ferdinand Waldmüller (1793–1865), one of the most
well-known representatives of the Biedermeier period, created
not only landscapes and genre scenes but also a great many
still-life paintings. Having started his career as a miniaturist,
he applied the same techniques to the detail of his paintings
and he always painted exactly what he saw in nature. The play
of the light on different surfaces and the intensity of the colors
were always important elements in his compositions.
28
International presence
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Imprint
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Masterpieces
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LIECHTENSTEIN. The Princely Collections,
Lugano, Pfaeffikon, Zurich
Vaduz−Vienna
United Kingdom, London
Editorial team
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Australia, Sydney
Birgit Schmidt, Art Historian, Vienna
LGT Group Marketing & Communications
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A complete address list of all LGT locations can be seen at www.lgt.com
Eduard Ströhling, detail from ”Portrait of Prince Alois I of Liechtenstein,“ 1794
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