7.5 Still-life in Vienna
When we disregard the Germans Carl Ruthart (1630-in or after 1703) [1] and Franz Werner von Tamm (1658-1723) [2], who associate themselves more with Jan Fijt and Frans Snijders than the Dutch,1 we can point only to Dirk Valkenburg (1675-1721) [3-5] and Willem Frederiksz. van Royen (c. 1645-1723) [6], who both painted hunting still-lifes for the princes of Liechtenstein.2
1
Carl Ruthart
Deer hunt, c. 1660
Vienna, Kunsthistorisches Museum, inv./cat.nr. GG 451
2
Franz Werner von Tamm
Dead wild game guarded by a hunting dog, dated 1706
Vienna, Kunsthistorisches Museum, inv./cat.nr. 1165
3
Dirk Valkenburg
Still Life with a Dead Goose, Hare and Other Fowl, with a Fox and a Hunting Dog in a Landscape, 1698-1699
Vienna, private collection Liechtenstein - The Princely Collections, inv./cat.nr. GE 763
4
Dirk Valkenburg
Still Life with a Dead Heron, Hare, Other Fowl and a Barking Dog, 1698-1699
Vienna, private collection Liechtenstein - The Princely Collections, inv./cat.nr. GE 765
5
Dirk Valkenburg
Still Life With a Dead Peacock, Pheasant and Hare With a Barking Dog in a Park Landscape, dated 1698
Private collection
6
Willem Frederiksz. van Royen
Young hunter with dog and game, c. 1706
Vienna, Vaduz, Valtice (Czechia), private collection Fürst von Liechtenstein
The Dutch flower picture also found its aficionados in Vienna. Maria van Oosterwijck (1630-1693) sold her paintings just as well here [7] as in Prussia and Saxony and the emperor and his spouse rewarded her in style.3 Coenraet Roepel (1678-1748) painted for prince Eugene of Savoy, who by the way also employed the Dutch battle scene painter Jan van Huchtenburgh, of whom we will come to speak in the context of his art collection.4 Franz Rösel von Rosenhof (1626-1700), who we already met in Nuremberg, worked for prince Karl Eusebius von Liechtenstein; he delivered the usual half Dutch, half Flemish animal paintings.
7
Maria van Oosterwijck
Vanitas Still-life with a skull, books, flowers in a vase and a celestial globe, dated 1668
Vienna, Kunsthistorisches Museum, inv./cat.nr. GG 5714
Notes
1 [Van Leeuwen 2018] Indeed they both had been in contact with Flemish painters: Ruthart was even a member of the Antwerp guild in 1663-1664 and Von Tamm was close to Flemish artists in Rome. A copy after the painting by Von Tamm of 1706 was formerly attributed to Jan Fijt (RKDimages 18484).
2 [Gerson 1942/1983] Frimmel 1907, p. 23-24. [Van Leeuwen 2018] Valkenburg painted a series of four paintings for Johann Adam Andreas 3rd Prince of Liechtenstein. The four paintings by Valkenburg were listed in the ‘fürstlich Liechtensteinischen Bilder-Galerie im Gaetenpalais der Rossau’ at least until 1885 (Vienna 1885, nos. 763, 765, 782, 784); two works from the series are still in the collection (RKDimages 28607 and 287610). A third painting was auctioned in 2008 (RKDimages 214570). Payments to Valkenburg by the court of Johann Adam have been made for this series (4 x fl. 250) and for two more paintings (Haupt 2012, no. 1447 and 1540), for which Valkenburg received resp. fl. 100 and 200.). Moreover, Valkenburg painted a group of five paintings for Ferdinand Bonaventura - Graf von Harrach. Four were sold from the ‘Harrach'sche Familiensammlung’ at some point after 1926, one was sold in 1990 (RKDimages 3339, with literature). This means there are 11 paintings documented that Valkenburg must have painted and sold in Vienna.
3 [Gerson 1942/1983] Houbraken 1718-1721, vol. 2, p. 215; Bredius 1935, p. 181. [Van Leeuwen 2018] ‘The art-supporting King Louis XIV placed one of her Art scenes in his Art cabinet. The Emperor Leopold and his spouse [placed] one as well, which they appreciated so highly that they sent her their portraits surrounded with Diamonds as a present.’ (Houbraken 1718-1721, vol. 2, p. 215; translation derived from Horn 2000, p. 599). The information is repeated in Weyerman 1729-1769, vol. 2, p. 263.
4 [Gerson 1942/1983] Weyerman 1729-1769, p. 122; Uffenbach 1753-1754, vol. 3, p. 368-369.