Die Czernin’sche Gemäldegalerie in Wien unter Eugen Czernin-Chudenitz (1892–1955) Das Schicksal der Privatsammlung nach dem Ausscheiden der Malkunst von Jan Vermeer, die ersten Verkäufe nach dem 2. Weltkrieg

The PhD Thesis “Die fürsterzbischöfliche Residenz in Salzburg unter Fürsterzbischof Hieronymus Graf Colloredo (1772 – 1803/1812): Kunst im Dienste der Aufklärung?“ ("The Archiepiscopal residence in Salzburg, under Prince Archbishop Hieronymus Count Colloredo (1772 - 1803/1812): Art in the Service of the Enlightenment?" deals with the rebuilding of the archbishop's residence or alterations to the planned new picture gallery. These modifications involved the demolition of significant architectural elements from the time of Archbishop Wolf Dietrich von Raitenau (1587 - 1612). From the construction phase under Archbishop Hieronymus Colloredo, the first plans of the residence of Wolfgang Hagenauer and Johann Kendler have been preserved. Much of the rebuilding plans, which would include, inter alia, the demolition of the Romanesque nave of the Franciscan church, were never executed. The reasons for this were called the displeasure of the Archbishop on the proposed construction, the lack of funds, and the approach of the French troops. This project put the emphasis on all the draft plans for the alterations to the residence, from the research so far remained unnoticed. The second part of the work was dedicated to the art appreciation of the archbishop. Hieronymus Colloredo hired the Bavarian Andreas Nesselthaler as court painter and also introduced him as ‘Truchsess’ and Gallery inspector. Nesselthaler created the "encaustic cabinet" with 56 paintings. First time, a survey shows about the inventories of the existing galleries to show the capital, could choose from which paintings held by the Archbishop for his new gallery. The aim of this work is a historical treatment and revision of the construction work and alterations to the picture gallery in Salzburg under Archbishop Hieronymus Colloredo. For both aspects of the matter was investigated, which is why the work was not completed. Until now it was known Hieronymus Colloredo had in the 3rd Floor of the residence built a new gallery, the facility, however, he never completed. In the largest hall, the former Komödisaal, he united a collection of paintings from the 17th Century, mainly large paintings from the picture gallery of Archbishop Guidobald Thun. Contemporary artists completed the picture gallery. In this work the selection of paintings for the new gallery will be shown. The gallery consisted of 279 paintings, which 53 can be reconstructed for the first time. The present research is the first time, discovered the whole plans and the reconstructed picture from the gallery on the 3rd Floor.

Die Czernin’sche Gemäldegalerie war eine der bedeutendsten Altmeister-Sammlungen in Wien. Von Johann Rudolph Graf Czernin von Chudenitz (1757 – 1845) zwischen 1795 und 1820 aufgebaut, wurde die Galerie von dessen Sohn Eugen Karl (1796 – 1868) erweitert. Der aufsehenerregende Verkauf von Vermeers Gemälde „Die Malkunst“ (heute Kunsthistorisches Museum, Wien) an Adolf Hitler im Jahr 1940 war der Auftakt zum Verkauf der Sammlung, der nach 1945 begann und sich bis Ende des 20. Jahrhunderts fortsetzte. Die berühmten Czernin’schen Gemälde haben Eingang gefunden in die Museen Europas und der USA, in den internationalen Kunsthandel oder befinden sich in Privatsammlungen. Das von Roswitha Juffinger und Imma Walderdorff kompilierte Verzeichnis der ehemaligen Czernin’schen Gemäldegalerie präsentiert Daten zur Provenienz des Erwerbs um 1800 sowie des Verkaufs im 20. Jahrhundert, gibt Aufschlüsse über neue Zuschreibungen an Künstler und bildet den Großteil der Bilder in schwarz/weiß Aufnahmen ab, die Josef Löwy um 1900 von der Czernin’sche Gemälden angefertigt hat. The Czernin Gallery of Paintings was one of the most important collections of Old Master paintings in Vienna. In 1975 Johann Rudolf Count Czernin of Chudenitz (1757 – 1845) started collecting till approximately 1820. His son Eugen Karl (1796 – 1868) added prominent works of art. The spectacular sale of Vermeer’s “Painter in his studio” (today: Kunsthistorisches Museum, Vienna) to Adolf Hitler in 1940 marked the starting point for the selling of the entire collection in the second half of the 20th century. Today famous Czernin paintings are part of European and US American museums, can be found on the interna¬tional art market or belong to private collectors. A new inventory of the former Czernin Gallery of Paintings compiled by Roswitha Juffinger and Imma Walderdorff offers data on the acquisition of the paintings around 1800 and the sales in the 20th century. New attributions to artists in addition to black/white images of the majority of the art works complement the publication. These photographs come from the glass-negative stock of Josef Löwy, who shot the photos around 1900.

Seit Paracelsus schreibt die Medizin in Salzburg Erfolgsgeschichte! Nicht nur in Zeiten von Krieg und Pest holten auch die Fürsterzbischöfe des Barock heilkundige Spitzenkräfte ins Land, die sie mit der Gesundheitspolitik betrauten. Die vielfältigen Bestände der Universitätsbibliothek Salzburg geben Einblick in die spannenden Ausbildungswege und Kenntnisse dieser für Hof, Stadt und Land wirkenden Leibärzte. Die Bücher lassen Forschung und Fortschritt in der Medizin nachvollziehen, verraten so manches Geheimrezept aus orientalischen Perlen, Chinarinde oder Vipernbrühe, zeigen vor allem aber die Kirchenfürsten abseits ihrer Macht: Als Menschen, die fieberhaft auf Wunder hofften, und deren größter Wunsch es war, gesund zu werden. Christoph Brandhuber und Edith Tutsch-Bauer prüfen die Erzbischöfe auf Herz und Nieren. Anhand von alten Rezeptbüchern und historischen Sektionsprotokollen erklären sie, warum die hohen Herren bisweilen Gift und Galle spuckten, was ihnen unter die Haut ging oder sogar das Blut in den Adern stocken ließ. Nehmen Sie Platz im Theatrum anatomicum! Medicine in Salzburg has been a success story ever since Paracelsus. It was not just in times of war and pestilence that the prince-archbishops of the Baroque period brought in top-performing men skilled at the art of healing and entrusted them with healthcare policy. The diverse holdings of Salzburg’s University Library provide an insight into the thrilling ways of medical education and the qualifications of the personal physicians working for the court, the city and the province. The books help tracking the research and progress in medicine, and reveal many a secret formula based on the use of oriental pearls, china-bark and viper broth, but, first and foremost, the sources show the princes of the church as human beings and leave aside the powerful position they held. They were just men hoping frantically for miracles; what they wished most for was to recover. Christoph Brandhuber and Edith Tutsch-Bauer examine the archbishops thoroughly. With the aid of old prescription books and historical autopsy reports, they explain what turned the high-ranking gentlemen’s stomachs, what got under their skin, or what made their blood freeze in their veins. Please feel free to have a seat in the “Theatrum anatomicum”!

The aim of this work is a historical treatment and revision of the construction work and alterations to the picture gallery in Salzburg under Archbishop Hieronymus Colloredo.Hieronymus Colloredo hired the Bavarian Andreas Nesselthaler as court painter and also introduced him as ‘Truchsess’ and Gallery inspector. Nesselthaler created the "encaustic cabinet" with 56 paintings. First time, a survey shows about the inventories of the existing galleries to show the capital, could choose from which paintings held by the Archbishop for his new gallery.

Mitten in Salzburg, gegenüber vom Festspielhaus, inszeniert der Tod: Eine barocke Sitzgruft für Professoren bietet ein tiefsinniges Schauspiel im Sacellum, jener kleinen Kapelle, mit der 1618 der Grundstein zur größten Bildungsinstitution des Landes gelegt wurde. Geweiht Erzbischof Carlo Borromeo, dem bedeutenden Mailänder Bildtheoretiker, macht die Kunst im Sakralraum dem Schutzpatron alle Ehre: Kopien nach Veronese, Rubens und van Dyck zeugen vom Kennerblick der Professoren, die ihre Hohe Schule trotz geringer Mittel als ein Zentrum der Künste in der Mitte Europas erscheinen ließen. Im Gegensatz zu dieser Pracht wurden die verstorbenen Professoren im „Gymnasium mortis“ der Kapellenkrypta wie in einer „Schule des Todes“ buchstäblich beigesetzt. Denn am unterirdischen Katheder wollten sie über den Tod hinaus mit ihren letzten Requisiten lehren: die Vergänglichkeit von Jedermann! Christoph Brandhuber lüftet den Vorhang zu einer universitären Schicksalsbühne. Er zeigt die Professoren in der Rolle ihres Lebens zwischen Wissensdurst und Kunstgenuss. Die Kulisse bildet ein lange vergessenes Kleinod, dessen Kunst- und Kulturgeschichte erstmals erzählt wird: das Sacellum, Wiege und Bahre der Benediktineruniversität. In the centre of Salzburg, right across from the Festival Hall, Death stages the action. A Baroque seated tomb for professors provides the setting of a profound drama at the Sacellum, the small chapel in which the foundation block was laid in 1618 for the country’s largest educational institution. Consecrated to Archbishop Carlo Boromeo, the prominent picture theorist from Milan, this sacred space rich in art treasures lives up to the name of its patron saint: copies after Veronese, Rubens and Van Dyck testify to the expert eye of the professors who knew how to make their university appear as hub of the arts in the heart of Europe, although the financial means were scarce. In contrast to this splendour, the deceased professors were entombed in the chapel’s crypt, the “Gymnasium mortis”, and were literally buried as if teaching in a “school of death”. They were seated at the underground lecturing desk, wanting to give lessons beyond death by means of the last theatrical properties they had: “Everyman is mortal” is what they taught. Christoph Brandhuber lifts the curtain to a university stage of destiny. He shows the professors in the roles they were born to play: men fluctuating between thirst for knowledge and art appreciation. A long-forgotten gem, whose history of art and culture is told here for the very first time, serves as a backdrop: the Sacellum – the womb and tomb of the Benedictine University.

Within the Habsburg monarchy, due to the comprehensive re-organisation of the universities in 1849, Rudolf Kner (1810-1869) was the first person to become appointed Professor in Zoology. He was also the first person who brought scientific zoology to the University of Vienna and later became a well-known ichthyologist. The present biographical survey treats the career of the Linz-born R. Kner from his basic education to his employment in the k.k.Natural Cabinet in Vienna (1836-1841), to the professorship in Lemberg/Galicia (Lviv/Ukraine; 1841-1848) and finally (1849) to the Professorship in Zoology in Vienna. This curriculum is displayed in connection with the circumstances of Kner‘s private life and his thoughts as noted in his early diaries as well as in his correspondance. Friends and colleagues in the ”Biedermeier” period (1820-1848) are considered, as are later relations. The family‘s association with Waldegg-Oed (Lower Austria) where, after 1856, the Kners also owned their country-house, is presented.

Mitglieder der gräflichen Familie Kuefstein haben über Jahrhunderte hohe Ämter bekleidet, doch stets aus der zweiten Reihe agiert. Daher sind ihre Namen bis auf wenige Ausnahmen kaum im kulturellen Gedächtnis verankert, obwohl zahlreiche von ihnen in Politik ebenso wie in Kunst und Kultur eine beachtenswerte Rolle gespielt haben. Um ein Panorama dieses Wirkens bis ins 19. Jahrhundert zu entfalten, werden einige Punkte aus der Familiengeschichte herausgegriffen, wobei die zahlreichen Gesandtschaften aus Wien in das Osmanische Reich und umgekehrt einen roten Faden bilden.

Giuseppe Maria Thun (Joseph Maria von Thun), nato a Trento nel 1713, morto a Passau nel 1763, fu principe vescovo di Gurk e di Passau ed esponente del riformismo cattolico di metà Settecento. Il saggio analizza il suo retroterra sociale e culturale e i rapporti con i parenti della famiglia Thun, tra i quali Pietro Vigilio Thun, principe vescovo di Trento, e Tommaso Francesco Thun, principe vescovo di Passau. Giuseppe Maria Thun (Joseph Maria von Thun), born in Trento 1713, died in Passau 1753, was prince-bishop of Gurk (Carinthia) and Passau. He was also a leading representative of the catholic reformism in the mid 18th century. This paper focuses on his social and cultural background and especially on his relationship with several members of the Thun family, such as Pietro Vigilio Thun, prince-bishop of Trent, and Tommaso Francesco Thun, prince-bishop of Passau.

The rare collection of instrumental music from the so-called Schrank II in Dresden contains among others also the unique instrumental compositions by Bohemian composers. The article aims to present these composers and to analyse preserved sources.

Old Master painting Collection Fürsterzbischof Franz Anton Fürst von Harrach (1665-1727, 1709-1727)

This article deals with the education of Rudolph Joseph Colloredo (1706-1788). His father Hieronymo tried to provide him with the best education. He believed his son could fight for the court functions due to the thorough law education in Salzburg and Leiden. The father´s conception of the education is mirrored in the travel instructions. The real course of the journey is reflected in private correspondence. The letters tell us Rudolph studied hard at the Benedictine university in Salzburg (1723-1725) and then he travelled to Leiden. But the intensive law course wasn´t finished; Hieronymo died in 1726 in Vienna and his son had to return home. The educational project wasn´t completed in the end but Rudolph didn´t discredit his family. He became the Reichvizekanzler (1746) and was promoted to the rank of prince (1763). The integration of the Colloredos to the society of the Habsburg court was finished.

Beethoven, Keglevich, Zmeskall, "Adelaide", Lichnowsky und Konzert in Pressburg 1796, in unbekannten Briefen von Johann Daniel Ribini

Der Salzburger Fürsterzbischof Hieronymus Colloredo (1732-1812) gründete um 1785 eine Zeichnungsakademie, die den Erwerb zeichnerischer Fähigkeiten, vorwiegend für den kunstgewerblichen Bereich, fördern sollte. Als Anschauungsmaterial wurde eine heterogene Sammlung von Druckgraphiken und Handzeichnungen vom 16. bis zum 18. Jahrhundert verwendet, die in sechs großformatigen Klebebänden aufbewahrt wurde. Der vorliegende Aufsatz behandelt die Geschichte der Klebebände und versucht eine zeitliche Einordnung aufgrund der Papierdatierung mittels Wasserzeichen.

A study on the paracelsistic-alchemical circle of Karl Widemann

The publication refers to a hitherto little known manuscript of a bird-eye's view of Vienna of 1703 in the Bibliotheque Royale de Belgique and its author Bernhard Georg Andermüller (1644-1717) a civil servant of the Princes of Anhalt-Dessau. In the context of a diplomatic mission in the services of his Lords Andermüller stayed in Vienna for a number of years until 1703 when he returned home. The thorough analysis of this view is integrated in and forms the basis for a study of the manifold transformation processes of the City of Vienna from the late middle ages until the early 18th century.