Notes
Labels can help to date changes in the support. But we always have to be aware that the labels could also have been taken off and transferred to the newly applied cradle or stretcher. This has been done from case to case in the twentieth century (e.g., Albrecht Dürer, Portrait of Johannes Kleberger, 1526, Kunsthistorisches Museum Vienna, Inv. GG-850, linden wood, 37 x 36.6 cm. The panel was cradled in 1946 and bears all the labels that were applied to the original reverse side in the course of the nineteenth century).
I want to thank Elke Oberthaler, Monika Strolz, Ute Tüchler, Ina Slama, and Natalia Gustavson for sharing these observations with me. For their good advice in several aspects of the history of the collection, I am also indebted to Gerlinde Gruber, Nora Fischer, Sabine Pénot, Wolfgang Prohaska, Karl Schütz, and Gudrun Swoboda.
“Evidenz- und Restaurierbücher” do exist from the 1870s on, but they basically only document how long a painting was in the studio and who worked on it.
Storffer, F., Neu eingerichtes Inventarium der Kayl. Bilder Gallerie in der Stallburg welches nach denen Numeris und Maßstab ordiniret und von Ferdinand à Storffer gemahlen worden, 3 volumes on parchment, vol. I: 1720, vol. II: 1730, and vol. III: 1733. Latest publication about the Stallburg Gallery of Emperor Charles VI and its inventory: Swoboda, G., and Haag, S., (ed.), Die Galerie Kaiser Karls VI. in Wien. Solimenas Widmungsbild und Storffers Inventar (1820-1733), exhibition catalogue, Kunsthistorisches Museum, Vienna 2010.
Mechel, C., Verzeichniss der Gemälde der Kaiserlich Königlichen Bilder Gallerie in Wien, verfasst von Christian von Mechel nach der von ihm im Jahre 1781 gemachten neuen Einrichtung, Vienna 1783, p. XI: “Der Zweck alles Bestrebens gieng dahin, dieses schöne durch seine zahlreiche Zimmer-Abtheilungen dazu völlig geschaffne Gebäude so zu benutzen, dass die Einrichtung im Ganzen, so wie in den Theilen lehrreich, und so viel möglich, sichtbare Geschichte der Kunst werden möchte.” More about the new gallery installed by C. Mechel in Meijers, D. J., Kunst als Natur. Die Habsburger Gemäldegalerie in Wien um 1780, Vienna 1995 (Schriften des Kunsthistorischen Museums, 2).
Hoppe-Harnoncourt, A., “Geschichte der Restaurierung an der k.k. Gemäldegalerie. 1. Teil: 1772 bis 1828”, Jahrbuch der kunsthistorischen Sammlungen in Wien, NF vol. 2, Vienna 2001, p. 135-206, p. 142-146, and p. 151-152. Further examples of format changes at that time are described by Gruber, G., “‘En un mot j’ai pensé à tout’. Das Engagement des Wenzel Anton von Kaunitz-Rietberg für die Neuaufstellung der Gemäldegalerie im Belvedere”, Jahrbuch des Kunsthistorischen Museums, NF vol. 10, Vienna 2008, p. 193-195; Swoboda, G., and Slama, I., “Zur historischen Praxis von Formatveränderungen in der Stallburg-Galerie Kaiser Karls VI: Guido Renis Reuiger Petrus”, Technologische Studien. Kunsthistorisches Museum, vol. 4, 2007, p. 103-121.
Jan van Eyck, Portrait of Cardinal Niccolò Albergati, c. 1435, Kunsthistorisches Museum, Vienna, Inv. GG-975, oak, 34.1 x 29.3 cm.
Illustrated in Storffer’s inventory, Storffer, F., op. cit., vol.3, 1733, fol.16.
Mechel, C., op. cit., p. 156, no.27.
Another example with the same format history: German painter after A. Dürer, Portrait of Maximilian I, c. 1530, Kunsthistorisches Museum, Vienna, Inv. Nr. GG-880, panel, 40 x 31 cm. Illustrated in Storffer’s inventory, Storffer, F., op. cit., vol.3, 1733, fol. 16, as oval shaped and listed in Mechel’s catalogue of 1783, Mechel, C., op. cit., p. 258-259, no.88, as a rectangular painting.
Titian, Nymph and Shepherd, c. 1570/75, Kunsthistorisches Museum, Vienna, Inv. GG-1825, canvas, 149.6 x 187 cm.
For information about the payments for restoration work, see the correspondence published in Hoppe-Harnoncourt, A., 2001, op. cit., p. 139-141.
For the restoration history of this painting see Oberthaler, E., “Tizians Spätstil anhand von Nymphe und Schäfer”, in Der späte Titian und die Sinnlichkeit der Malerei, exhibition catalogue, Kunsthistorisches Museum, Vienna 2007, p. 110-121, p. 111-112.
Storffer’s inventory, Storffer, op. cit., vol. 3, no. 142. The illustration was either lost or the volume was never finished. See Swoboda, G., “Die verdoppelte Galerie. Die Kunstsammlungen Kaiser Karls VI. in der Wiener Stallburg und ihr Inventar” in Swoboda, G., and Haag, S., (ed.), op. cit., p. 21.
Rosa Sr, J., Inventarium über Die in der Kaiserl. Königl. Bilder-Gallerie vorhandene Bilder und Gemälde, 1772, archive of the Gemäldegalerie, Kunsthistorisches Museum, Vienna, No. 42 (Galerieböden): “ohne Blindrahm, schadhaft von einem unbekannten Meister”.
Mechel, C., op. cit., p. 26, no.42: Measurements without frame (converted) 152.7 x 184.3 cm. First mentioned in the imperial collection in the handwritten inventory of Archduke Leopold William of 1659, Inventarium aller vnndt jeder Ihrer hochfürstlichen Durchleücht Herrn Herrn Leopoldt Wilhelmen […] zue Wienn vorhandenen Mahllereyen, published in Berger, A., “Inventar der Kunstsammlungen des Erzherzogs Leopold Wilhelm von Österreich. Nach der Originalhandschrift im fürstlich Schwarzenberg’schen Centralarchive”, Jahrbuch der kunsthistorischen Sammlungen des Allerhöchsten Kaiserhauses, vol. 1, 1883, p. LXXXVI-CLXXVII, Reg. Nr. 495, no. 174: measurements inclusive frame (converted) 160 x 187 cm. If one compares the historic measurements, it can be seen that between 1659 and 1783 an extension must have taken place. Since the illustration in the Stallburg inventory is missing, there is no evidence of the size before the restoration in 1774. The unusual fact that Hickel signed and dated his work could support the theory that the extension was done by him. See also E. Oberthaler’s opinion, in Oberthaler, E., 2007, op. cit., p. 112 and note 13.
Lucas Cranach the Younger, Portrait of a Man, 1564, Kunsthistorisches Museum, Vienna, Inv. GG-885, panel, 84 x 64 cm and Portrait of a Woman, 1564, Kunsthistorisches Museum, Vienna, Inv. GG-886, panel, 83 x 64 cm.
Inventory of Archduke Leopold William, op. cit., no. 330 and no. 331. The measurements for both paintings are documented, inclusive frames (converted) 108.16 x 87.36 cm.
Mechel, C., op. cit., p. 251, no. 62. Measurements without frame (converted): 86.87 x 71.09 cm.
The additions were removed in 1924. I wish to thank Monika Strolz for this image and the illustration.
In the inventory of 1772, see Rosa Sr, J., op. cit., and the catalogue of 1783, see Mechel, op. cit., we only find the male portrait, the woman appears as a companion piece as early as 1816 (in the handwritten inventory of Rosa Jnr, J. Haupt Verzeichnis der k.k. österreichischen Bilder Sammlung in dem Hofschlos Belvedere 1816 et 1817, verfaßt v. Jos. Rosa. k.k. Gallerie Custos, archive of the Gemäldegalerie, Kunsthistorisches Museum, Vienna, 2nd floor, 1st room, no. 69). As can be observed frequently in German sixteenth-century companion piece portraits, the artist positioned the female sitter further to the rear. Also observed in several cases in Cranach the Elder’s oeuvre by HOLSTE, T., Die Porträkunst Lucas Cranach d. Ä., doctoral dissertation, University of Kiel 2004. This is the reason why in our example the sitter does not touch the edges. An extension to place her in the centre of the composition was therefore unnecessary.
Hoppe-Harnoncourt, A., 2001, op. cit., p. 152 and p. 159.
Ibid., p. 156-163; for Heinrich Füger and the events of the Napoleonic wars see also Hoppe-Harnoncourt, A., “Le Guerre Napoleoniche ed il Caso di Heinrich Füger Direttore della Galeria Imperiale di Vienna (1806-1818)”, Bollettino d’Arte, Volume Speziale 2003: Storia del restauro dei dipinti a Napoli e nel Regno nel XIX secolo. Atti del Convegno Internazionale di Studi. Napoli, Museo di Capodimonte, 14-16 ottobre 1999, p. 197-208.
Hoppe-Harnoncourt, A., 2001, op. cit., p. 160.
Ibid., p. 162.
Ibid., p. 162-163.
Peter Paul Rubens, Assumption, c. 1611/14, Kunsthistorisches Museum, Vienna, Inv. GG-518, panel, 458 x 297 cm.
Hoppe-Harnoncourt, A., 2001, op. cit., p. 163-168.
“Eine Fähigkeit von geringerer Art, die dennoch mit dazugehört, ist, dass er die Gemälde wohl zu erhalten, zu reinigen und die schadhaften herzustellen wisse.“ Quote after BURG, A., “Einige Urkunden zur Geschichte der Gemäldegalerien im Anfang des XIX. Jahrhunderts“, Jahrbuch des kunsthistorischen Institutes der k.k. Zentral-Kommission, vol. 5, 1911, p. 194–204, p. 197f.
Hoppe-Harnoncourt, A., 2001, op. cit., p. 165-166: Füger’s son once mentioned that his father had restored Rubens’ Assumption in 1815. It is more likely that he wanted to express that this work was done under his father’s supervision as director.
Ibid., p. 174. This was not yet realized in the nineteenth century. August Schäffer was the last artist in that position until 1910; after him Gustav Glück took over and was the first art historian to run the Imperial Picture Gallery.
Ibid., p. 173 and p. 176.
Ibid., p. 178; for Joseph Rebell as director of the Imperial Collection see also Oberthaler, E., “La campagna di restauro nella Galeria Imperiale di Vienna diretta da Joseph Rebell (1824-1828)”, Bollettino d’Arte, Volume Speciale, in Storia del restauro dei dipinti a Napoli e nel Regno nel XIX secolo. Atti del Convegno Internazionale di Studi. Napoli, Museo die Capodimonte, 14-16 ottobre 1999, 2003, p. 209-222.
Hoppe-Harnoncourt, A., 2001, op. cit., p. 177.
Ibid., p. 179.
Austrian State Archives, Vienna: Haus- Hof- und Staatsarchiv, Oberstkämmererakten, Reihe B, Z.1209/1832.
Hoppe-Harnoncourt, A., 2001, op. cit., p. 180-181.
Austrian State Archives, Vienna: Haus- Hof- und Staatsarchiv, Oberstkämmererakten, Reihe B, Z.1092/1829: Krafft to Count Czernin (Head of the "Oberstkämmereramt”) 18 June 1829: "[…] auch sind bereits alle Bilder dieser Schule, bey denen es nothwendig war, parquettirt, übertragen, auf neue Leinwand aufgezogen, frisch gespannt und mit neuen Blindrahmen versehen,[…]. Da nun nach Eur. Excellenz hohen Befehl die Restauration der Mahler Arbeiten nicht unterbrochen werden darf, und jene auf Holz gemahlten Bilder der Teutschen und Niederländischen Schulen bey der neuen Meißnerschen Heitzung der k.k. Galerie, um alle Gefahr des Werfens und Springens zu beseitigen, ebenfalls im Laufe dieses Sommers nach Eur. Excellenz mündlicher Äußerung, noch parquettirt werden müssen, so bittet der gehorsamst Unterzeichnete um Bewilligung fernerer 1500 f. C.M.[…] womit die wichtigsten Gemälde letztgenannter Schulen, besonders jener des Rubens, Rembrand, Dürer etc. vor allem ferneren Schaden gesichert werden können.[…] und durch diese Vorarbeiten die Heitzung jedenfalls unschädlich gemacht wird.”
Austrian State Archives, Vienna: Haus- Hof- und Staatsarchiv, Oberstkämmererakten, Reihe B, Z.1008/1830 and Z.1586/1810.
Austrian State Archives, Vienna: Haus- Hof- und Staatsarchiv, Oberstkämmererakten, Reihe B, Z.1209/1832.
Lucas Cranach the Elder, Judith with the Head of Holofernes, c. 1530, Kunsthistorisches Museum, Vienna, Inv. GG-858, linden wood, 87 x 56 cm.
Rebell (?), J. between 1824 and 1828, Verzeichnis aller im Galeriegebäude befindlichen Gemälde, archive of the Gemäldegalerie, Kunsthistorisches Museum, Vienna.
We must take into account that during later restorationwork the old labels were taken off the backs and either glued on the new label again or kept somewhere else (see above note 1). The observation of the typical appearance of many cradles that carry the same combination of labels as shown here supports the theory that they were done under Rebell’s and Krafft’s custody. Elke Oberthaler called this period appropriately a “restoration campaign” in her paper “La campagna di restauro nella Galeria Imperiale di Vienna diretta da Joseph Rebell (1824-1828)”, read in Napels in 1999, published as Oberthaler, E., 2003, op. cit.
Umbrian Painter, Annunciation, c. 1500, Kunsthistorisches Museum, Vienna, Inv. GG- 2537, transferred from wood to canvas, 205 x 160 cm.
Oberthaler, E., 2003, op. cit., p. 215. A label on the lower left side of the stretcher “Nr. 429, 1833, Depot” informs us that this was actually a painting that Krafft did not exhibit in the galleries and put into storage, although it had recently been transferred under Rebell’s care.
For example, in Krafft, A., Verzeichniss der kais. kön. Gemälde-Gallerie im Belvedere zu Wien, Vienna 1837, p. 193, no. 15: Albrecht Dürer, Martyrdom of the Ten Thousand, 1508, Kunsthistorisches Museum, Vienna, Inv. GG-835, transferred from wood to canvas, 99 x 87 cm.
Follower of Luca Signorelli, Adoration of the Shepherds, around 1500, Kunsthistorisches Museum, Vienna, Inv. GG-313, transferred from wood to canvas, 163 x 163.5 cm. In Krafft 1837, op. cit., p. 80, no. 52.
“Czernin Johann Rudolf Graf”,Österreichisches Biographisches Lexikon 1815–1950 (ÖBL), vol. 1, Vienna 1957, p. 161.
The paintings in question are Giuliano Bugiardini, The Rape of Diana, c. 1535, Kunsthistorisches Museum, Vienna, Inv. GG-1554, canvas, 159.5 x 183 cm; and Fra Bartolomeo, Christ in the Temple, 1516, Kunsthistorisches Museum, Vienna, Inv. GG-207, panel, 155 x 159 cm.; Hoppe-Harnoncourt, A., 2001, op. cit., p. 184-186.
Oberthaler, E., “Zur Geschichte der Restaurierwerkstätte der ‘k.k. Gemälde-Galerie’”, in Restaurierte Gemälde. Die Restaurierwerkstätte der Gemäldegalerie des Kunsthistorischen Museums 1986 - 1996, exhibition catalogue, Kunsthistorisches Museum, Vienna 1996, p. 26-22, p. 31-32.
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