Lanckoroński Palace

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Lanckoronski Palace as seen from Jacquingasse (1895)

The Lanckoroński Palace was built between 1894 and 1895 by the theater architect Ferdinand Fellner the Elder. J. and Hermann Helmer for the art collector, patron and monument curator Karl Graf Lanckoroński built a neo-baroque building in the Fasanviertel in Vienna's Landstraße district , at Jacquingasse 16-18 (corner of today's Landstraßer Gürtel ).

The palace housed the count's large art collection and was a meeting place for artists and the nobility. The building and the collection had the character of a public museum, although various private areas were reserved for the count and his family.

On the occasion of Austria's “annexation” to National Socialist Germany in 1938, the rich collection was confiscated and sold to various museums after the war. The palace itself suffered severe damage from bombs in several air raids in 1944, but a good part of the substance was retained. Although rebuilding would have been possible, the building was demolished after the war.

History of the palace

The builder Count Karl Lanckoroński and his wife Margarete (née Lichnowsky)
Ground floor plan

The client, Count Karl Lanckoroński, came from an old Polish aristocratic family from Galicia , an area in southern Poland that fell to Austria after the first partition of Poland in 1772. As chief chamberlain of Emperor Franz Joseph I in his last years in reign and with Emperor Karl I, he held a high office at court. In addition to his residence in Vienna, the count also had numerous family possessions in Galicia. In the course of time his family and especially he himself collected valuable paintings, tapestries, furniture and sculptures. As his old residence at Riemergasse 8 in Vienna's 1st district turned out to be too small over time, Lanckoroński commissioned the construction of a new palace.

With the demolition of the old line wall in the course of the city expansion of Vienna at the end of the 19th century, new properties became available in the immediate vicinity of the Upper Belvedere . The architects Fellner and Helmer, commissioned by the count with the new building, designed a free-standing building with a large garden facing northeast. They designed the exterior and interior of the three-story palace in the neo-baroque style that was popular at the time.

The palace served on the one hand as a count's domicile and on the other hand as a venue for impressive receptions. At the same time, it fulfilled the requirements of living and representation needs and was suitable for the public presentation of the art collection of the patron Lanckoroński. Artists like Hans Makart , Victor Tilgner , Arnold Böcklin , Kaspar von Zumbusch and Auguste Rodin as well as writers like Hugo von Hofmannsthal and Rainer Maria Rilke frequented the city .

The area of ​​the property was 4800 m², of which the main and auxiliary buildings took up 1060 m². The main building, set back 22 meters behind the escape from Jacquingasse, was accessible from this alley via two gates with wrought-iron bars and a ramp leading to a covered underpass. A porter's house rose on Jacquingasse. The main building was divided into a basement and a ground floor, a main floor and a fully developed attic. On the ground floor one got from a sala terrena into a large hall with the main staircase and through side passages to two staircases that were open to the public. The reception rooms were in the left half of the building, the living rooms and ancillary rooms in the right. On the main floor there was a frescoed hall above the driveway and the vestibule, which combined with the exhibition rooms on both sides to create a spatial effect of considerable size. In addition, the master's living and working rooms were on the main floor. The living room, servants' and cloakroom rooms were again housed in the attic, and the kitchens and utility rooms in the basement. From the palace there was a view of Belvedere Palace and the gardens.

The contemporary Princess Nora Fugger described the building in her biography as “a particularly remarkable palace in terms of art history” that “had the reputation and importance of a museum.” ( Princess Nora Fugger : Im Glanz der Kaiserzeit : pp. 226–227)

End of the palace

After the end of the Austro-Hungarian monarchy, the count and his family became Polish citizens, but continued to live in Vienna. Although it became quieter around the palace with the creeping loss of importance of the nobility, it was still a popular crowd puller due to its collection and the philanthropic activities of the count, who enjoyed an excellent reputation.

When Austria was "annexed" to National Socialist Germany in 1938, the Nazis confiscated the palace and the collection. Since the heir, Count Anton Lanckoronski, was a Polish citizen, the Nazis invoked the Ordinance on the Treatment of Property of Members of the Former Polish State after the Invasion of Poland.

Much of the art objects was after the Second World War in the Palace Hohenems in Vorarlberg spent, where they fell victim to a fire. The palace, confiscated by the Nazi authorities in 1939 , was damaged by aerial bombs as early as 1944 , presumably also because of its proximity to Vienna's Südbahnhof . In 1945, immediately after the end of the war, a fire caused by looters is said to have broken out. The ruin, whose state of preservation is initially described as being quite good, with its overgrown garden became an “enchanted castle” in the post-war period. Financial considerations prevented a reconstruction.

Reuse

In 1960, instead of the palace, an office building was built for the Hoffmann-La Roche company based on plans by Georg Lippert . For a long time, the location served the international US technology group Motorola as the branch headquarters for Austria. The listed building has housed the Hotel Daniel since autumn 2011.

Lanckoroński Collection

Many of the art objects originally came from the so-called gallery of King Stanislaus August in the Warsaw Royal Castle . After the first division of Poland in 1795, objects from the castle were auctioned and bought by noble families such as Lanckoroński. After the Anschluss, leading Nazis such as Adolf Hitler and Hermann Göring coveted the particularly valuable pieces in the collection. Count Anton transported many parts to his friend Count Waldburg-Zeil at Hohenems Castle in Vorarlberg, which was badly affected by a fire in 1947, which resulted in the destruction of various parts of the collection. The amount of damage is difficult to determine because there was no complete inventory of the collection. An estimate is based on 120 lost works of art. The collection was divided among the heirs Anton, Karolina and Adelajda and some of it was sold on. In 1959 , Paolo Uccello's Saint George and the series of frescoes by Domenichino from Villa Aldobrandini came to the National Gallery in London. Due to the restrictive export law for cultural goods, the Austrian state forced the heirs to leave further parts to the Kunsthistorisches Museum and the Austrian Belvedere Gallery .

It was not until the late 1990s - after the ownership of the works of art confiscated by the Nazis had been clarified - that the items were returned to the heirs. The only surviving heiress, Countess Karolina Lanckorońska , donated the collection to her native Poland after the fall of the Iron Curtain . Today the works are located in the Warsaw Royal Castle and in the Wawel in Krakow.

Artwork in Warsaw

Portrait of an elderly scholar (also known as the father of the Jewish bride ), Rembrandt van Rijn
Angel , by Simone Martini (1315)

Works of art that are now in the Royal Castle of Warsaw are:

as well as other works by Ludolf Bakhuizen and Philips Wouwerman .

Artwork in Krakow

The heiress Countess Karolina Lanckorońska donated 82 works from the Lanckoroński Collection to Wawel. There are works by Simone Martini, Bernard Daddi, Bartolo di Fredi, Apollonius di Giovanni, Jacopo del Sellaio, Vittore Crivella, Dosso Dossi, Paris Bordone, Garofal, Giorgio Vasari, Alessandro Allori, and Leandro and Francesco Bassano, and other paintings Italian masters like Antonio Zanchi, Pietro Muttoni (Della Vecchia), Francesco Solimena, Alessandro Magnasco and Giovanni Battista Tiepolo .:

Works in the Austrian gallery

In 1999 the following works were in the Austrian Belvedere Gallery in Vienna. The whereabouts of these works of art are still unknown.

inside rooms

Both the exterior and the interior of the palace were based on the baroque style of the time around 1700.

Similar to a museum, an official guide and postcards of the interior and the collection could be bought in the palace. The following description of the premises and works of art correspond to the status of 1903.

Vestibule

Vestibule

In the neo-baroque vestibule (called vestibule or hallway at the time) there were antique busts next to and above the side doors, and antique reliefs on small ornate antique pedestals next to the main door. The vestibule was also decorated with four Italian frescoes, ideal architectural pieces from the beginning of the 18th century.

Green Salon

The green salon was in the same baroque style as the vestibule in terms of the stucco ceiling, the doors and the wood paneling. The stove screen and the supraportes were works by the painter Hugo Charlemont . On the main wall hung three portraits of the French school, Handel and his family by Johann Zoffany, as well as landscapes with rich staffage by Griffier. On the wall between the entrance door and the window hung a portrait of Cardinal Polignac , a copy after Hyacinthe Rigaud , a landscape with staffage by Berchem, an original pastel portrait of a daughter of Empress Maria Theresa and a marine painting by Aivazovsky . On the wall between the window and the stove hung a copy of Jean-Marc Nattier's portrait of Peter the Great of the French School (the original is in Versailles ), a portrait of Queen Maria Leszczyńska and two pieces of flowers by Seeghers. On an easel stood a fresco of Venus and Cupid by Giovanni di San Giovanni from the 16th century.

Green cabinet

In the green cabinet, also designed in Baroque style, there was a small picture of the Venetian painter Longhi , who lived at the end of the 18th century , next to the entrance door , and on the wall to the right of the entrance there was a pastel portrait of Longhi and a view of the lagoon by Antonio Canevale , called Canaletto. The room also contained an oval portrait of a woman by Largilliere, including Prince Joseph Poniatowski von Bacciarelli , to the right and left of which Empress Maria Theresa on the Coronation Hill in Pressburg and her husband Emperor Franz I , both equestrian images by Hamilton , including views of Baden-Baden in fan shape , Watercolors by Ludwig Hans Fischer . On the chest of drawers was a terracotta portrait bust of Empress Elisabeth of Austria , the work of Prosper d'Epinay . A life-size biscuit bust of Archduchess Sophie was on a small table by the window wall . On the wall to the left of the entrance there was an equestrian image of a French marshal in the manner of Van der Meulen , two small portraits, Queen Henriette of England by Sir Peter Lely and the painter Largilliere by Rigaud, two landscapes by a Bergama mask, pupil of Canaletto , and the reproduction of Paul Baudry 's own hand of a panel of the foyer of the Grand Opera in Paris he painted, as well as a Longhi and a Guardi. Between the door and the stove hung the landscape of Salvator Rosa . The overhead door was from Oudry . Also in the room was an ancient Chinese umbrella richly decorated with figures from the Imperial Summer Palace in Beijing.

Passage to the dining room

In the passage to the dining room was a marble bust of the Count d'Orsay from the end of the 18th century, tapestries, two Dutch still lifes and a wood carving from a Japanese temple. From the passage you had a view of the stairs.

Old German cabinet

Old German cabinet

In the small so-called Old German Cabinet three small portraits were presented to the right of the entrance, the first was a work by the Nuremberg School, the second a work by Hans Holbein the Elder and the third by Hans Holbein the Younger . Next to the door hung Erasmus of Rotterdam by Georg Pencz , including King Anton of Navarre , father of Henry IV, by François Clouet . There was also the head of a saint von Burgkmair , a fragment by Lucas Cranach , the Descent from the Cross by Van der Weyden, old Spanish pictures of Dutch inspiration, Spanish wooden reliefs, a wooden statuette of Saint John on Patmos by Montanez, old French cupboards, an old English armchair, as well as Valkenburg , love garden and pub scenes from Hemessen. A Cologne glass painting hung in front of the window in the showcase . The old German cabinet was later on the second floor, next to the watercolors corridor.

Dining room

Dining room with tapestries

In the dining room (also the dining room) hung Dutch tapestries from the time of Louis XIV, the one on the left wall of the entrance showed a glorification of the Sun King. Three marble busts of the ancestors of Count Anton Lanckoronski were also in this room, one overhang was from Charlemont, another from the French Mouilleron.

Hall

The hall was the largest and most representative room in the palace
On the right side of the wall you can see the paintings of Polish aristocrats and the bust of King Jan Sobieski in front of it.

The hall was the central and main room of the house, the interior design was also based on the Baroque style from around 1700. On the staircase leading to the gallery was a tapestry umbrella with a gilded wooden frame from the time of Louis XIV, in front of it a modern Japanese bronze of an eagle, and an Italian from the 17th century, the bust of the Polish general Stefan Czarniecki . Opposite the door to the dining room was an old Japanese bronze statuette of a daimyo and an old Japanese bronze vase with gilded wooden lotus flowers from a temple, behind the desk was the bronze bust of King Sobieski by the artist Zumbusch. On a small bookcase next to the steps behind the desk stood an old Japanese bronze statue of Buddha and on the desk was an old lacquer panel with a view of St. Peter's in Rome made in Japan . To the right and left of the main door were two dressers whose lacquered Verni-Martin panels had previously been part of Madame Dubarry's car . The bronze busts of Prince Eugen and Ernst Gideon von Laudon von Zumbusch stood on it between Japanese bronze vases . There was also a screen with very old Japanese kakemonos with a remarkable white hawk. The 15th century Italian fireplace top was a copy of a famous relief in Pistoia from the same period. The fireplace was flanked by marble torchbearers, Italian works of the 16th century. The over door over the dining room door was by Roland de la Porte . Almost without exception, artistically valuable family pictures hung on the walls. Were particularly emphasized the life-size image of a Duchess of Lorraine, later Countess Potocka of Élisabeth Vigée-Lebrun , two counts Rzewuski in full figure of Pompeo Batoni , Count Anton Lanckoronski in the robes of the Golden Fleece of Füger, Count Casimir Rzewuski of Marcello Bacciarelli , Count Michael Rzewuski , Countess Francisca Rzewuska , Count Anton Lanckoronski von Grassi and Peter Golkowski , adjutant to the last king of Poland, von Bacciarelli. Works by Rotari were Count Anton Rzewuski , Count Karl Lanckoronski , senior von Schrotzberg, Countess Prascovia Golovine by Madame Vigée-Lebrun, a life-size picture of the landlord as a boy with his mother by Karl von Blaas, including Count Kasimir Lanckoronski from the old Viennese school. Next to the door above the lower dais above and below two sconces were four wooden reliefs in the style of Louis XIV, a French work from the 16th century. They represented the four elements .

At the end of the staircase from the hall to the upper gallery were the paintings Count Kasimir Rzewuski by Andrea Appiani , next to them Count Franz Rzewuski by Pietro Antonio Rotari , including Count and Countess Potocki by Karl von Blaas , a French portrait of their daughters from 1832 Above the door on the left was the over-door Die Kunst by Hugo Charlemont, and there were also Makart and Wolter busts by Tilgner, the portrait of King August III. of Poland in the manner of Nattier's portraits of the royal princesses of France, a portrait of Empress Maria Theresia by Martin van Meytens , an ideal landscape by Marko, furthermore a wood-carved window made of cashmere , including a showcase with mostly modern glass faience - and Silver objects, interiors by Rudolf Alt, a portrait of Count Anton Lanckoronski at a young age by Hans Makart , Romeo and Julie by the English painter Benjamin West . There was also a glass case with precious porcelain and a modern bronze relief of King Stefan Bathory of Poland by the sculptor Antoni Madeyski . The frieze embroidered in silk under the ceiling, an Italian work from the 16th century, came from the Palazzo Borghese .

Fresco hall

Frescoed hall with Greek and Roman antiques. The adjacent Dutch hall can be seen behind the door.

On the walls, transferred to canvas, were original frescoes by Domenichino , from the casino of the Villa Aldobrandini in Frascati near Rome. They showed the deeds of Apollo with landscapes from the area around Rome. Today these works are in the National Gallery in London. The ceiling was painted in the manner of the ceiling paintings of Italian palaces with gray-on-gray copies of Raphael's planets in the Chigi Chapel of the Church of Santa Maria del Popolo in Rome. In the middle of the room was a sarcophagus from the 3rd century AD, from Cilicia , on the wall to the right of the entrance door a marble table with a relief from Athens from the 4th century BC. This room contained several showcases. In one of these there were ancient Egyptian antiquities and painted Greek vase fragments, in another Greek terracottas, in a larger third showcase antique bronzes, partly from the island of Aegina near Athens, and a large marble vase fragment with relief figures from the Alexandrian era. The torso of a faun located here was an ancient Roman copy based on the Roman original. Greek terracottas and Greek vases were displayed in larger showcases. Other works in this room were a Roman statue of Bacchus , a Roman grave bust with an inscription, a herm from Hadrianic times, a Greek bust found near Rome, a small bust of a Roman matron and a Greek bust from the 4th century BC. Chr.

Dutch hall

Dutch hall

The Dutch Hall was one of the most famous rooms in the palace due to the valuable paintings by Dutch masters on display. Its ceiling was decorated with allegorical reliefs of the night and the six winter months by the Viennese sculptor Theodor Friedl . On the wall opposite the entrance, Rembrandt's Jewish Bride , Bride's Father , and The Repentant Petrus hung, on the wall opposite the window a portrait of a woman by Aart van Geldern . Other works in this room were a landscape by Frederik de Moucheron , a portrait by Philippe de Champaigne , The Badly Guarded Girl by Baarent Graat , a double portrait by Jordaens, two small works by Teniers, a work by Hendrick Avercamp , a Van Goyen , a Henri de Cort , two Dutch showcases inlaid with turtles and a showcase with small Dutch pictures in the hall. Under the Rembrandts there were showcases with precious compartments and miniatures.

On the entrance wall was a box with paintings from the Rubens period, the story of the prodigal son , an ostade, a Netscher , a Mieris, a Wouwermann and another showcase with valuable compartments.

A still life by Gryff hung on the window wall, underneath it was a display case with Chinese knick-knacks .

In front of one window was a large display case with miniatures, including Schiller's portrait, a display case with antique marble sculptures. The stove screen was from Hugo Charlemont.

First stairwell

First staircase

In the first staircase there was a colossal bust of different colored marble of the Roma from Villa Borghese , opposite a copy of Anthony van Dyck's portraits of Cardinal Guido Bentivoglio in the Pitti Gallery . Painting by Franconia of St. Ambrose and Emperor Theodosius as well as interior of St. Peter's Church in Rome and interior of Paulskirche in Rome before the fire of Panini , four landscape paintings by Philipp Hackert , two large landscapes by Glauber, equestrian image and two battle scenes by Casanova, sea ​​storm by Ludolf Bakhuizen , a Michaud and Paul Bril , a de Vries, a Poelembourg, two Querfurts and a showcase with antique marble sculptures.

Lower library

The library faced two sides. Next to the entrance door hung the Venetian nobleman in the manner of Tintoretto , above the door opposite the balcony opening, Titian's original playing boys . Also in this room was a marble medallion with the portrait of Pope Innocent XI. and an Italian bronze bust from the 16th century, copied from an antique bronze bust allegedly created by Seneca from the Museum of Naples.

A modern allegorical fresco by the Viennese painter Ludwig Mayer was located above the 15th century Florentine fireplace by Francesco di Simone . An ancient marble bust of Emperor Augustus , a clay statuette of Charlotte Wolter as Thusnelda by Tilgner and an Italian marble bust of Niccolò Machiavelli from Cinquecento were also there. On the desk on the left was the bronze Sappho by James Pradier , on the right the bronze copy Mercur after Giambologna . The portraits of St. Stanislaus Kostka as a boy from the Venetian school at the end of the 16th century and of St. Charles Borromeo were on display above an old German cupboard . On the wall of the blunted corner is the painting St. Franciscus v. Assisi , a work of the Spanish school from the 17th century, next to it an old Italian lute . Underneath on the cornice is a draft of a statue of Goethe by Rauch, underneath a Japanese vase. Otherwise there were copies in oil and water colors after Botticelli , Giambellino , Antonio Pollaiuolo , Andrea del Sarto , Fra Angelico , Raffael , Giorgione , Tizian , Franciabigio , Murillo and others. The ceiling showed portraits from the school of Vittore Carpaccio .

Ladies salon

The Louis-Seize- style women's salon was illuminated by a chandelier copied from Queen Marie Antoinette's chandelier in the Trianon. This salon had a very beautiful fireplace set and furniture partly covered with tapestries, on which scenes from the fables of La Fontaine were depicted. In one corner stood a terracotta bust presumably depicting the writer Casanova , in another corner a marble bust of the landlord, Count Karl Lanckoronski, von Carrier-Belleuse . In the supraportes there were grisailles by Sauvage. An old Chinese precious porcelain screen and a fabric screen with small pictures and miniatures divided the room. On the entrance wall hung two oval portraits of Madame Vigee-Lebrun, one of which was an image of Count Schuwaloff and Countess Barbara Golovine , as well as the two pastel portraits of Count Franz Rzewuski and Countess Franziska Rzewuska , and on the chimney wall a copy of Madame Vigee-Lebrun's portrait of the Princess Lichnowsky, née Countess Thun . In addition, a work by Vigee-Lebrun's Lady with a music book , Villa Medici in Rome by Hubert Robert, architectural pictures with rich staffage by Norblin and Queen Marie Antoinette in the prison of the Temple of Kucharski.

Opposite the entrance wall was a painting by Madame Lafayette , a work by Madame Adélaïde Labille-Guiard , a self-portrait in pastel by Vigee-Lebrun, a small portrait of Empress Catherine II of Russia in oil, a small portrait of Lavater in pastel, Empress Maria Feodorovna of Russia , wife of Paul I von Heinsius, as well as small oil portraits of Countess Ludovica Lanckoronska and Countess Rzewuska, née Countess Potocka .

Passage to the fresco hall

The first staircase led to the passage to the fresco hall. There were two large watercolors with motifs from the Vienna Belvedere by Bamberger and Hugo Charlemont, as well as a beautiful tapestry from the 17th century with a Minerva figure .

Italian hall

Italian room, on the wall on the right you can see the painting by Dossi, the world painter Zeus and del Sellaios Orpheus .
The world painter Zeus , by Dosso Dossi (around 1524)
Orpheus , by Jacopo del Sellaio (late 15th century)

The Italian Hall was reached through the fresco hall. It was the counterpart to the Dutch Hall. Here, too, the ceiling was designed by Friedel. In its center was an allegory of the day , surrounded by the summer months . To the right of the entrance was a portrait of the Madonna by Melozzo da Forli , including an Annunciation by Fra Angelico , a Madonna with saints by Signorelli, a portrait of Lorenzo Lotto , including a small image of a female figure by Mariotto Albertinelli , pupil of Fra Bartolomeo, including one Showcase with precious little pictures, coins and medals. On the wall hung Zeus the World Painter , a large mythological picture by Dosso Dossi, including a cassone piece Orpheus among the animals by Jacopo del Sellaio, contemporary of Botticelli, a replica of the portrait of Pope Paul III. from Paris Bordone in the Palazzo Pitti and a showcase with precious little pictures and book covers. The stove screens were from Hugo Charlemont. Under the cassone piece and the dosso there were sculptures on a carved chest, in particular a female bust of Desiderio da Settignano , a glazed clay relief by Agostino di Duccio and a marble putto by the same.

Opposite the entrance wall hung a Christ head by Giambellino , and above it a Madonna and Child by Alesso Baldovinetti . Above the door leading to the chapel was a beautiful old Madonna relief from the beginning of the 15th century. Century attached. A large round picture with the Madonna by Sandro Botticelli also hung there, including scenes from the Odyssey with people in costume from the 15th century, a Florentine work.

Moretto da Brescia's Christ in Emaus hung on the wall of the window , underneath was a showcase with antiques. In front of one of the windows was another vitrine with a marble table base from the 15th century, from the palace of the Pope Pius IX family. from Sinigaglia. It contained, among other things, an early Christian cut onyx, Renaissance coins , medals and plaquettes, etc., and a Madonna by Rafaellino del Garbo .

chapel

The chapel was decorated with fragments of old Italian frescoes from the 14th century. A clay relief of the Madonna by Donatello and a Madonna with side wings by Agnolo Gaddi could be seen on the entrance wall . On the window wall hung Christ on the cross by Andrea del Castagno , above the Madonna by Tomaso da Mutina . On the altar wall there was a statue of the Madonna from the grave of Pope Innocent XI. in Orvieto by Arnolfo di Cambio , Christ on the cross and Ecce homo , both from the 15th century Sienese school, Madonna in Trono and the Nativity , these two pieces from the 14th century Sienese school. On the wall opposite the window hung the fresco Annunciation Angel by Lorenzo Monaco , a Madonna by Pasqualino Veneziano , St. Franciscus from the 15th century Sienese school, the Nativity by Taddeo Gaddi and two saints by Spinello Aretino . In the ceiling were portraits of the Milan School of the 15th century. Here, too, the stove screen was from Hugo Charlemont.

Small Italian cabinet

Saint George by Paolo Uccello, now in the National Gallery, London

In the small Italian cabinet hung on the wall to the right of the entrance of Paolo Uccello's Saint George , two small long pictures by Schiavone, as well as Orpheus , a school picture from the workshop of Carpaccio. One of the two showcases contained Indian miniatures in the upper area and Near Eastern objects in the lower area; in the other above Persian and Arabic illustrated books, below Seljuk clay fragments. On the window wall hanging Seated youth of Lorenzo Costa , Perseus with the head of Medusa in the fight in the manner of the Peruzzi; including a showcase with Indian jewelry and sculptures. On the wall to the left of the entrance was a male portrait of Paris Bordone, two pieces of cassone from the 15th century, a large piece of cassone rider , a battle scene, perhaps by Paolo Uccello, including a showcase with, in the upper area, ancient Italian sculptures and majolica as well as one Caricature drawing by Leonardo da Vinci , with fragments of ancient Indian sculptures in the lower part. There was also a fragment of a deacon statue from a marble tomb from the XIV century from the Pisani school. On the entrance wall hung St. Andrew of Masaccio , part of a larger altarpiece, the remaining parts of which have been lost, as well as Madonna in the manner of Carl Crivelli and St. Francis , a work of the early Sienese school .

Anteroom between the above three rooms and the second staircase

In this anteroom above the chapel door was the Madonna and Child , a northern Italian work of marble from the 15th century. A showcase with Indian objects from the last centuries stood there as well as the relief of Saint Augustine in the manner of Mino da Fiesole , above a Venetian relief of Doge Loredan, opposite a relief from Northern Italy with Emperor Domitian , all from the 15th century. Small Italian pictures from the same period were hung in the anteroom, as well as a plate from Rhodus, created under Persian influence, and a fresco fragment, Male Head , by Giovanni di San Giovanni. Another two showcases stood in the room, one filled with ancient Indian bronzes, the other with ancient Mexican and modern American objects. In front of the banister and on the showcases, there were important Indian sculptures, mostly Graeco-Buddhist , from northwest India.

Second stairwell

From the mezzanine to the second floor, this staircase was hung with pictures from the 19th century, to the right of the Italian anteroom between two gilded showcases with Near Eastern faience and, above an old Japanese screen, a praying Arab from Makart. Above the first landing, the street in the forest by Chevallier, Castel Gandolfo by Oswald Achenbach , Schimmel by Dallinger , olives by Huet , landscape by Théodore Rousseau , forest pond by Aachen, landscape in the twilight by Benno Becker , courtyard in an Italian town of Koch und a small landscape by August von Pettenkofen . The sowing man was a bronze work by Constantin Meunier .

In the uppermost part of the staircase hung the relief Shepherd by Hermann Lang , Triton by Arnold Böcklin , landscape with mythological figures by Hans Garnjobst , Wogende Flut from Pratt, an ancient Japanese terracotta by a Buddhist priest, the Zattere Quai in Venice by Sartori, an ancient Chinese bronze -Buddha, girl at the toilet by Lang Laris , calf in the green by Cauld, landscape by Morton, the rendezvous of Pettenkofen, Vesuvius under a cloudy sky by Giuseppe de Nittis , street in Holland by Eduard Charlemont , Canale della Giudecca by Rico, a scene from the Roman de la Rose (the pilgrim, the virtues, the beauty, the god of love) by Burne Jones and Endymion by Eugen Benson .

Anteroom next to the second stairwell on the second floor

In this anteroom were old Japanese kakemonos and showcases with modern Indian, old Chinese and Japanese objects, Japanese plates and wooden sculptures.

Aisle of watercolors

In this long connecting passage hung oil paintings by Piotrowski, Farbe-Dufaur and others in the front area , in the back watercolors and views from all over the world by Bosboom , Lindemann-Frommel , Rudolf and Franz Alt , Ludwig Hans Fischer , Imer , Hugo Charlemont, Stoecker, Heinrich , Carl Goebel , Bazzani , Franz Thiele , Werner, Amadeo Preziosi , Brioschi, Spangenberg and others.

Anteroom in front of the study

In the anteroom hung a drawing of Prince Bismarck by Franz von Lenbach , a drawing of Diana by Moritz von Schwind and a small oil study Orientale by Eugène Delacroix .

Workspace

The study had a view outside. There were drawings by Lenbach , Steinle , Rudolf Alt, Jules Bastien-Lepage , Arthur Grottker , Léon Augustin Lhermitte , Selleny , Pettenkofen, Aiwasowsky, lithographs by Hans Thoma , an etching by Max Klinger after the island of the dead by Arnold Böcklin , wooden statuettes by Emanuel Pendl , a pewter bust of Cardinal Franziskus by Paula Schönborn von Tilgner and a bronze after the fight by Hosäus .

Viewing room

View of Vienna from the upper floor of the palace, on the left the Upper Belvedere, in the middle the St. Stephen's Cathedral and the Vienna Woods on the horizon

The viewing room, which also offered a beautiful view of the surroundings, contained drawings by Giovanni Segantini , Führich , Andric, Preller, Hans Makart , Hans Böhler and a colored plaster cast of Stuck by Beethoven .

Upper library

The upper library also offered a view. Here was a portrait of Baron Joseph von Hammer-Purgstall , a drawing by Lawrence , a small watercolor by Khnopff , Dante in the Pineta near Ravenna by Henri Martin in pastel, the drawing Paestum by Joseph Sellény , a statuette by Eitelberger by Koenig and the Death mask of Charlotte Wolter and a plaster statuette of State Chancellor Prince Metternich by Johannes Benk .

The way back into the vestibule led through the corridor of the watercolors, down the second flight of stairs and past the aforementioned modern pictures and other works: the plaster relief of Stuck dancers , pictures by Malczewski , Carl Schindler , Fabre-Dufaur , Heyder, Courbet , Chevallier , Georges Claude , Bouguereau , Corot , Frank Buchser , Hans Makart , Benson, Pallizzi, Rudolf Ribarz , Karl Blaas , Friedrich von Amerling , Leop. Müller , D. James , Eduard Ritter , Johann Josef Schindler , Eduard Ender and others. A bronze bust of Napoleon I , antique marble busts and the like were also exhibited there .

Lanckoroński Palace on Riemergasse

On the occasion of one of his numerous trips, Count Lanckoroński met the painter Rudolf von Alt in Nuremberg on August 29, 1881 and commissioned him to paint several interior views of the count's residence at Riemergasse 8 in Vienna's 1st district. The motifs of these works are sometimes mistaken for views of the later Palais Lanckoroński on Jacquingasse, which, however, was only completed and furnished four years after the work of Rudolf von Alt was created.

The watercolors show various salons and rooms furnished with paintings and sculptures from the 17th and 18th centuries. In some, the count can be seen in a seated position reading. In his very detailed way, von Alt captured various works of art in almost photographic quality. For example, Johann Heinrich Dannecker's bust of Friedrich von Schiller is clearly recognizable as well as works by Thomas Gainsborough , Anton von Maron , Jacob Isaacksz. van Ruisdael and Ferdinand Georg Waldmüller .

  • Rudolf von Alt: living room in the (old) Palais Lanckoroński on Riemergasse.

  • Rudolf von Alt: Salon in the (old) Palais Lanckoroński on Riemergasse.

  • Rudolf von Alt: Library in the (old) Palais Lanckoroński on Riemergasse.

  • Rudolf von Alt: Count's study in the (old) Palais Lanckoroński on Riemergasse.

supporting documents

  1. ^ Dieter Klein , Martin Kupf , Robert Schediwy : Stadtbildverluste Wien . LIT, Vienna 2004, ISBN 978-3-8258-7754-5 , p. 143.
  2. ↑ Karl Holey. The house of Count Lanckoronski . Pp. 121-125. In Selected Works of Art from the Lanckoronski Collection. Vienna 1918.
  3. ↑ “A palace that is particularly noteworthy in terms of art history should not go unmentioned, even if I am anticipating the times: the palace of Count Karl Lanckoronski, built in the 1990s in Jacquingasse, in whose family the sense and understanding of art are hereditary. The names of the painters, which the members of this family and their relatives had their portraits made, speak for themselves. These family pictures can be seen in the hall of the Lanckoronski Palace. They are painted by Madame Vigée Lebrun, Battoni, Füger, Grassi and many others. Schrotzberg painted the portrait of Count Karl Lanckoronski senior, an uncle of the current head of the family. In the first years of the reign of Emperor Franz Joseph, the person depicted in the picture was his Chamberlain. The administration of all imperial art treasures and art collections was subordinate to him. Karl Graf Lanckoronski junior also held the same dignity in the final years of Emperor Franz Joseph's reign and for a time under Emperor Karl. The palace is built in the baroque style. It harbors art treasures of all times: ancient sculptures alternate with those from the Italian Renaissance, pictures by old Italian masters, beginning in the Trecento, with those from German and Dutch schools. The so-called green cabinet houses works by artists from the 18th century. The dining room is decorated with Dutch tapestries from the time of Louis XIV and marble busts of Count Lanckoronski. The pearls of the collection are undoubtedly the three pictures of Rembrandt Jewish bride , bride's father and Peter hanging in the Dutch hall . In the women's salon you can see the pictures of Madame Vigée Lebrun, Madame Labille and other French artists. Magnificent antique furniture, including two chests of drawers by Panneaux by Verni martin, from a Dubarry carriage, bronzes, antique glass, faience and silver objects, collections of miniatures and fans as well as all sorts of valuable cabaret products give the palace a reputation and importance Museums. ”( Princess Nora Fugger : In the splendor of the imperial era : pp. 226–227)
  4. ↑ Peter Harclerode: Lost Masters: World War II and the Looting of Europe's Treasureholds . Welcome Rain Publishers, New York 2002, ISBN 978-1-56649-253-9
  5. ↑ Historia dwóch obrazów ( Memento of the original from July 27, 2011 in the Internet Archive ) Info: The @1@ 2Template: Webachiv / IABot / www.zamek-krolewski.pl archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . Zamek Królewski w Warszawie - Pomnik Historii i Kultury Narodowej.
  6. ↑ Galeria Lanckorońskich ( Memento of the original from June 27, 2010 in the Internet Archive ) Info: The @1@ 2Template: Webachiv / IABot / www.zamek-krolewski.pl archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . Zamek Królewski w Warszawie - Pomnik Historii i Kultury Narodowej.
  7. ^ Agnieszka Janczyk, Kazimierz Kuczman, Joanna Winiewicz-Wolska: Collections »Painting . Wawel Royal Castle.
  8. ↑ a b Elisabeth Gehrer (February 17, 1999). 5184 / AB (XX. GP) ( Memento of the original dated August 3, 2012 in the web archive archive.today ) Info: The @1@ 2Template: Webachiv / IABot / www.konvent.gv.at archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . Written answer (according to § 91 (4) GOG). Parliamentary Directorate.
  9. ↑ Ludwig Hevesi, Karl M. Kuzmany: Rudolf Alt - His life and his work . Artaria, Vienna 1911, p. 77
  10. ^ Walter Koschatzky: Rudolf von Alt 1812-1905 . Residenz Verlag, Salzburg 1975, p. 289, no.AV. 81/09. ISBN 978-3-7017-0138-4
  11. ^ Christian von Holst: Johann Heinrich Dannecker. The sculptor . 1987, pp. 206-211, cat. no. 58, illustrated on p. 197. ISBN 978-3-922608-45-5

literature

  • Princess Nora Fugger: In the splendor of the imperial era . Amalthea Verlag, Vienna 1932. pp. 226-227.
  • Burghart Häfele: The Lanckoronski art collection in Hohenems Palace . In: emser almanac . No. 14. 7th year. Bucher-Druck, Hohenems 2006, pp. 54-70. (= Series of publications by the Hohenems cultural group, articles on Hohenems topics). ISBN 3-902525-46-0 .
  • Edgard Haider: Lost Vienna - noble palaces of days gone by . Böhlau, Vienna 1984, ISBN 3-205-07220-0 .
  • Konrad Heumann: Hugo von Hofmannsthal and Karl Graf Lanckoronski: letters and testimonials . In: Hofmannsthal-Jahrbuch , 12/2004, pp. 191–242 m. Fig. (Hugo von Hofmannsthal Society)
  • Dieter Klein, Martin Kupf, Robert Schediwy : Stadtbildverluste Wien - a look back at five decades . LIT Verlag, Vienna 2005, ISBN 3-8258-7754-X .
  • Selected works of art from the Lanckoronski Collection . Holzhausen, Vienna 1918.
  • Lanckoronski Palace - Jacquingasse 18 . Self-published, Vienna 1903.
  • Journal of the Austrian Association of Engineers and Architects . (ZÖIAV). Volume 46.1894, issue 1, p. 1, plate I. - full text online (PDF; 10.8 MB) .
  • Felix Czeike : Historical Lexicon Vienna. Volume 3: Ha-La. Kremayr & Scheriau, Vienna 1994, ISBN 3-218-00545-0 , p. 667.

Web links

Commons : Palais Lanckoroński  - collection of images, videos and audio files

Coordinates: 48 ° 11 ′ 21 ″  N , 16 ° 23 ′ 0 ″  E