A CATALOGUE OF
SEVEN MARBLE SCULPTURES OF THE
ITALIAN TRECENTO AND QUATTROCENTO
from the Collection of
His Highness the Prince of Liechtenstein
JACQUES SELIGMANN & CO., INC. , NE\Y YORK
1954
Edition Limited to 100 Copies
Charitas by GIOVANNI BALDUCCI
Prudentia by BONINO DA CAMPIONE
Justitia by BONINO DA CAMPIONE
Musician Angel With Hand Organ
by ANDREA ORCAGNA
Musician Angel With Tambourine
by ANDREA ORCAGNA
Angel of the Annunciation
by THE MASTER OF THE MASCOLI ALTAR
Madonna and Child by ANTONIO ROSSELLINO
Contents
Page
PREFACE BY GERMAIN SELIGMAN . 2
GIOVANNI BALDUCCI, CHARITAS . 6
BONINO DA CAMPIONE, PRUDENTIA 10
BO l 0 DA CAMPIONE, J STITIA . 10
ANDREA ORCAG 'A, Mu ICIAN ANGEL WITH HA DORGAN. 17
A DREA ORCAGNA, MusrciAN AxGEL WITH TAMBO RINE . . 17
MA TER OF THE MASCOLI ALTAR,
ANGEL OF THE AN;>;lJXCIATJON
TO 10 RO SELLI 0, :\1ADONNA AND CHILD
F".c 1\liLES oF DH. \\'. R. ALE:"TI:"ER. STUDIE
24
28
. . 31-37
Pl. I
Pl. II
Pl. III
Pl. IV
Pl. V
Pl. VI
List of Illustrations
Giovanni Balducci, CHARITAS
Giovanni Balducci, VERITAS (Or San Michele, Florence)
Bonino da Campione, PRUDENTIA .
Bonino da Campione, PRUDENTIA (back view)
Bonino da Campione, PRUDENTIA (detail)
Bonino da Campione, J usTITIA .
Pl. VII Bonino da Campione, TOMB OF FoLCHI~O DEGLI ScHIZZI,
Page
8
9
12
13
14
15
Cremona 16
Pl. VIII Andrea Orcagna, Mt:SICIA:'i ANGEL WITH HAND ORGAN 19
Pl. IX Andrea Orcagna, MusiCIAN ANGEL WITH HAND ORGAN
(detail) 20
Pl. X Andrea Orcagna. M SICIAN ANGEL WITH TAMBOURINE 21
Pl. XI Andrea Orcagna. M ·siCIA~ ANGEL WITH TAMBOURINE
(detail) 22
Pl. XII l\lADO:'\:'iA AND CHILD, Campo Santo, Pisa
(here attributed to Andrea Orcagna) 23
Pl. XIII iliaster of the Mascoli Altar, ANGEL OF THE ANNUNCIATION 25
Pl. \I\ \ IR(.J'\, ' \1:\T PETEH A:'\D SAI::\T PA L
( ~a muel H. Kr ::.s Collection)
Pl. X\ Ht:LIEF FRO\T THE LTAR OF THE 1A COLI CHAPEL,
an Marco. T'enice .
Pl. X I lntonio Rossellino, MADONNA AND CHILD
26
27
30
PREFACE
by Germain Seligman
It is indicative of the changing tastes and interests of the art world that these
exceptional sculptures from the Liechtenstein Collection have so long remained
in obscurity, not to say oblivion. The guidebooks of the collection themselves
made little mention of them, whereat> the paintings of that collection, even
those of lesser interest, are widely reproduced in catalogues and reference
books. In contrast, only three of these sculptures have ever been reproduced.
Of especial interest in the evolution of collecting and of research in the field
of sculpture is the fact that two of those sculptures reproduced are of the
Quattrocento and were published some forty years ago when the taste for this
period wa at its height: the Ro sellino bas·relief, reproduced by Dr. Wilhelm
von Bode in his corpus on Florentine Renaissance sculpture; and the Angel
of the Annunciation by the Master of the Mascoli Altar, in the first edition of
Dr. Leo Planiscig's work on Venetian sculpture in 1916.
It wa only in 1935, on the other hand, that a publication including one of
the Trecento group appeared. Due to the interest of Dr. William R. Valentiner
in the earlier periods of Italian sculpture and his researches in that field, the
Charitas of Giovanni Balducci was reproduced at that time in an article by
him in th Italian magazin , L'Arte.
n ext nuatino- ircum ·tance for this neglect, however, lies in the fact that,
"ith th x eption of the Madonna and Child by Rossellino which was always
in th Li hten tein Gallery in Vienna, the other six were for many years
hidden from public view in the Chapel of the Liechtenstein castle near Moed
ling, a short distance outside Vienna. They were only removed to the Vienna
gallery in 1924.
In the catalogue which follows, the attributions have all been established by
Dr. William R. Valentiner, to whom I am happy to reiterate my expressions
of deep appreciation for the time and interest he has devoted to this study.
I am further indebted to him for a considerable amount of related material
to which he has called my attention.
While all essential information has been recorded for each sculpture and, I
believe, the existing bibliography, I realize that this study could be elaborated
through further research. For in tance, it has been sugge ted that the anony
mous artist known as the Ma ter of the Mascoli Altar might possibly be iden
tified with Bartolomeo Buon, the outstanding Venetian sculptor of the early
XVth century. The fact that this charming figure is the missing angel from
an Annunciation group, including the Virgin, St. Peter and St. Paul already
in a private collection in this country, is an additional facet of interest.
Dr. Valentiner has put forward another interesting opinion: that the Orcagna
Musician Angels may originally have been grouped about the Madonna and
Child of the Campo Santo in Pi a which he has also attributed, with good
rea on, to thi great painter- culptoi· of the Trecento.
The delightful bas-relief by Antonio Rossellino is the only one of the group
to have had any real amount of attention from art historians and it is well
knO\\ n that certain of th m h<.n e considered it to be by Benedetto da Maiano.
Ho\\C\ r, upon a clo r Yi '' and a comparison of it with aYailable material,
ther ~ m to l> no que::.tion that Bode's original attribution to Rossellino is
the corr ct one.
Th attribution of the xquisite GioYanni Balducci Charitas needs no discus
·ion, ·o lo i , thi ' reli f "tylistically-and even to detail of the frame-to
those of Or San Michele in Florence. Nor can there be any doubt about the
authorship of the two statues of Prudentia and Justitia, for here again a com
parison to the figures on the impressive tomb of Folchino degli Schizzi in
Cremona, dated and bearing the signature of Bonino da Campione, provides
ample support for the attribution. The only surprising fact is that so great a
monument of Italian sculpture of the Trecento and Bonino da Campione him
self should be so little known, considering that it was also he who created the
famous monumental equestrian statue of Bernabo Visconti in the Castello
Sforzesco in Milan.
In view of the rarity nowadays of Trecento and Quattrocento sculptures of
high merit, this group constitutes a unique ensemble. It is to be hoped that
they will not be dispersed now after having remained so long together in the
collection of H. H. the Prince of Liechtenstein.
All attributions are based upon the studies of Dr. William R. Valentiner,
reproduced here in facsimile.
The quotations in italics are from Dr. Valentiner's own texts.
With the exception of the Rossellino bas·relief, which has apparently been
continuously in the Liechtenstein Gallery in Vienna, all of the sculptures
come from the Chapel of H. H. the Prince of Liechtenstein's castle, Feste
(Fort) Liechtenstein (built in the Xllth century), Moedling, near Vienna.
The inventory numbers cited are those from the Liechtenstein records, and
are indicated in red on each sculpture.
GIOVANNI BALDUCCI
(Giovanni di Balduccio or Giovanni da Pisa)
(Pisa ca. 1300- ca. 1360)
Marble bas-relief
Height: 173/(
Width: 131/:(
CHARITAS
ca. 1330
The symbolic figure of Charity is represented as a woman who holds up in her right hand a scroll inscribed with the raised letters CHARITAS. With her left hand she enfolds two small figures with upturned faces who are apparently nourished by her. Charity's head, sculptured in the round, is turned to
her right and she gazes upward.
Inventory numbers 290 and F.559.
In thi bas-relief of Charity, R. Frey han (see "The Evolution of the Caritas Figure ... ", Journal of the Warburg and Courtauld Institutes, Vol. 11, 1948, pp. 68-86) finds a pictorial symbol of the two aspects of Charity: love of God and love of neighbor. The motive of the suckling children, which would seem to have been introduced early in the XIVth century, became the traditional symbol of Charity in the Renaissance and later periods, but here it is combined with the motives of the flame and the heart to symbolize divine and
earthly Charity.
Thi - HARITA i - on of a ·erie of reliefs from Or San Michele executed by th out landing Pi ·an ·culptor, Giovanni Balducci, in Florence about 1330. Th r lief wa - fir t publi hed by W. R. Valentiner ( ee "Giovanni Balducci a Fir nze ... ' L'Arle, Ja11. 1935) along with the VERITAS (Pl. II) and oth r relief from the Or an Michele eries.
6
COLLECTIONS: Church of Or San Michele, Florence (presumably) Prince of Liechtenstein, Chapel of Fort Liechtenstein, Moedling
BIBLIOGRAPHY: W. R. Valentiner, "Giovanni Balducci a Firenze e una scultura di Maso," L'Arte, Jan. 1935. Reproduced fig. 8, p. 7, as by Gio
vanni Balducci.
R. Freyhan, "The Evolution of the Caritas Figure in the Thirteenth and Fourteenth Centuries," Journal of the Warburg and Courtauld Institutes, Vol. 11, 1948, pp. 68-86; reproduced Pl. 16d.
W. Paatz, Die Kirchen von Florenz, Frankfurt-am-Main, 1940-1953,
Vol. IV, p. 491 and footnote 75.
(Seep. 31 for study by W. R. Valentiner of April1953.)
GENERAL BIBLIOGRAPHY ON GIOVANNI BALDUCCI: A. G. Meyer, Lombardische Denkmaler des vierzehnten J ahrhunderts, Stuttgart, 1893.
L. Bellone, "La scultur~ del '300 a Milano: Giovanni di Balduccio da Pisa e Bonino da Campione," Rivista d'arte, Vol. XXII, July-Dec. 1940,
p. 178ff.
W. R. Valentiner, "Notes on Giovanni Balducci and Trecento Sculpture in Northern Italy," Art Quarterly, Vol. X, Winter 1947, pp. 40-60.
Pl. I. GIO\'ANNI BALDUCCI. Charitas
8
1'1. II. CIO\ \\\I B \ I.Dl CCI. I erita.,
lOr ::-;,,11 \lidwle. Flort'nt·t•l
Marble
Height: 261/:/'
BONINO DA CAMPIONE (1335?-1397)
PR DENTIA
ca. 1 3S7
The concept of Prudence takes the form of a three-faced figure. The front
face is that of a young girl looking down into a bowl which he holds with
her left hand. In her right at the point of her waist, where the folds of her
robe gracefu ll y gather, she clasps a book. Of the other two heads, one is also
that of a girl but with an uplifted face, the other that of an aged man with
a beard, and an upturned face.
The neck of the tatuette ha been broken.
Inventory numbers 295 and F.551.
JL'STITIA
Marble
Height: 251 ~"
ca. 1357
]u ' tice is ·ymbolically treated a a young woman, her attribute of scales sus
pended from her left hand. Part of her robe is clutched against her by her
left arm. In her rio-ht hand ' he gra ' ps the hilt of a sword (the blade is miss
ing). Her head i tilted down to her left with the hair flowing back behind
her. Her robe with a square neckline i graceful and simple.
lnvenlor) number:; 296 and F.5~2.
The . tatuettes of PRl OE:\TI and Jc 'TITI:\ find interesting parallels in figures
from the tomb ofF !chino de~;di 'hizzi in Cremona (Pl. VII), a signed and dat d ( 13~7) work by Bonino da Campione, " ... the leading sculptor in
Lombardy in th e ·econd half of the fourteenth century ... A similar figure
(to the I Hl' DE!'\T!A) can be found on the tomb . ... represented with two heads,
10
one of a young woman, the other of a bearded man, and holding in the hand a bowl and a book; the figure is inscribed PRUDENTIA, which is the right name
also for the present statuette."
The JusTITIA" ... has the same attributes as the figure in relief on the Schizzi tomb in Cremona and the one on the Equestrian statue of Bernabo Visconti in
Milan. Characteristic for Bonino are the long wavy folds wrinkled up on the ground, the narrow sleeves hooked together on the underarm, the hair with a large wave retreating shell-like below the ears. The two statuettes of the Prudentia and Justitia belong to a series of the four virtues, the two other
ones being T emperantia and F ortitudo, most likely coming from a tomb in
Milan where Bonino is well represented and was most active."
cOLLECTION: Prince of Liechtenstein, Chapel of Fort Liechtenstein, Moedling
BIBLIOGRAPHY: Fuhrer durch die Fiirstlich Liechtensteinsche Gemaldegalerie in Wien, by A. Kronfeld, Vienna, 1931, Gallery II, p. XVIII; described
as Naples, second half of the XIVth century.
(Seep. 32 and p. 33 for studies by W. R. Valentiner of April1953.)
GENERAL BIBLIOGRAPHY ON BoNINO DA CAMPIONE: A. G. Meyer, Lombar
di che Denkmaler de vierzehnten J ahrhunderts, Stuttgart, 1893.
A. enturi, Storia dell'arte italiana, Milan, 1908, vol. IV, p. 590, pp.
626-632.
L. Bellone, "La scultura del '300 a Milano: Giovanni di Balduccio da Pi::.a Bonino da ampion ," Rivi · ta d'arte, Vol. XXII, July-Dec. 1940,
p. ] 78fT.
W. R. al ntin r, Origin of Modern Sculpture, New York 1946, p. 110,
Pl. 82a and b, and Pl. 83.
W. R. al ntin r. '' ot · on Giovanni Balducci and Trecento Sculpture in orth rn Italy," rt Quarterly, Vol. X Winter 1947, pp. 40-60.
11
Pl. Ill. BO I 0 DA C 1PIO E. Prudentia
12
1'1. 1\'. B0'\1\0 f)\ C \\lPIO'\'E. Prudentia {hack Yie")
I 3
1'1. \ . llO\l l 0 D \ C.\\l PIO\ E, Prudentia (detail)
I-I
1'1. \'1. BO 11'\0 DA CA 1PIOi\E, Justitia
15
Pl. VII. BO I 0 DA CAM PIONE, Tomb of Folchino Degli Schizzi, Cremona
Marble
Height: 21"
ANDREA ORCAGNA
(Andrea di Cione) ( 1308? · 1368?)
MUSICIAN A GEL WITH HAND ORGAN
Florentine, ca. 1360
The angel holds a hand-organ obliquely across his waist. The delicate fingers
of his right hand are playing the instrument while the left turns the handle.
The perforations of the organ are carefully fashioned in a lovely pattern. His
body flows downward in a rhythmical sweep from the head, which is tilted
to his right.
Inventory numbers 297 and F.553.
MG ICIAN A GEL WITH TAMBOURINE
Marble Florentine, ca. 1360
Height: 21"
upporting a tambourine against the left ide of his body with his left hand,
the angel i playing with hi right. Hi head is cast to the opposite side.
Framed with a crown of hair which flow back on the neck, the face has a
erene air. The tambourine i culptured in such a way as to complete the
graceful de ign of the mu ician's body.
lm 'nlory number~ 298 and F. : 1.
The I\H> ~tatu ·tt ·~ of mu;.ic-making anael - are part of " ... a set of five (" e \ . H. \ al ntin r," r agna and the Black Death of 1348," Part II, Art
uart rly, Vol. ' II, pring 194 , p. 12-) ... originally in Pisa and formed an altarpifce of u4tich the center was po sibly the Madonna statuette in the Campo anlO.'' (Pl. II)
cOLLECTION: Prince of Liechtenstein, Chapel of Fort Liechten tein, Moedling
BIBLIOGRAPHY: Fuhrer durch die Fi.irstlich Liechtensteinsche Gemiildegalerie in Wien, by A. Kronfeld, Vienna, 1931, Gallery II, p . XVIII.
W. R. Val ntiner, "Orcagna and the Black Death of 1348," Part II, Art Quarterly, Vol. XII, pring, 1949, p.l27.
e p. :3-1 and p. 35 for :.tudie · by W. R. Valentiner of April1953 .)
IH
Pl. \ ' Ill. 1\\DREA ORC.\G. •\ , .llusicia ~ :lngel With Hand Organ
/9
Pl. !X. A:\DREA RC ·\ :'\A. Jlusician Angel With Hand Organ
(detail)
20
Pl. \. A ORF:. OR AG ' , Musician Angel TT"ith Tambourine
21
Pl. I. A DREA ORCAG A, Musician Angel With Tambourine
(detail)
22
Pl. II. \lADO::-\N AND CHILD, Campo Santo, Pisa
(here attributed to ndrea Orcagna)
23
MASTER OF THE MASCOLI ALTAR (in San Marro, Venice)
,Varble
Height: 241 '(
A "GEL OF THE A~NCNCIATION
Venetian, ca. 1430
The angel with a halo and decorated wings, stands in youthful dignity to announce the coming of Christ. He holds his right hand upward and against his right "ing. \\ith h\O finger~ raised in salutation. In his left hand he grasps a ·croll. His robe, fiO\\ing cl0\\11 in a gently curving slope, i held with a clasp at the throat. Hi hair curl about the delicate face .
The neck and the tip · of both \\ i ng-; ha Ye been hroken.
Inventory number-, 29.'3 and F.562.
Thi-. ::-laluette. ··one of the most chorming tatuettes of Venetian art at the
time of the transition from the Gothic to the early Renaissance," probably beIon!!-. to a ~roup of three fil!ure-.. in the ~ arnuel H. Kress Collection (Pl. XIV), a Yirgin Annunciate. , aint Peter and Saint Paul. which are of the same height U!'\ thi:- angel and h;ne a :>imilar type of base.
The anon~mott-.. culptor i::- called after his altar in the ~Ia coli Chapel in 'an \Iarco, \enice (Pl.\.\) . . \.Venturi I ~te Storia delrarte italiana . .:\Iilan, 1908. \ ol. \ L p. 986) ha-. identified thi master with one of the most out-.tandin~ ,t·ulptor-. in Yenice in the fir,.,t half of the XVth century, Bartolomeo Huon, working in collaboration \\ ith hi father. GioYanni Buon, on the :\lascoli Altar.
< OLI . I. l .TJO:-;: Prine<' of I it•chtcn-.kin, Chtqwl of Fort Liechtcrbt in. \loedling
RIIILIOGH \I'll\: I . Pl,l!li-.cig. Ge:-chichte der \'enezianischen kulptur im XIV. Jahrhundt>rt, \"ienna, I< 1<>. p. 1:~0. fig. 89.
( ' ce p. J() for -.tud. In \\ . R. Ya lentiner of April 1953.)
Pl. \Ill . 1\IASTER OF THE \lA, OLI LTAR, Angel of the Annunciation
25
Pl. XIV. VIRGIN, SAINT PETER AND SAINT PAUL
(Samuel H. Kress Collection)
Pl. XV. HEUEF FJ{QM THE ALTAR OF THE MASCOLI CHAPEL,
San Marco, Venice
ANTONIO ROSSELLINO
(1427 Settignano- 1479 Florence)
:Warble bas-relief
Height: 22o/(
Width: 15"
MADONNA A D CHILD
Florentine, ca. 1460-70
Halo encircle the heads of the Madonna and the Infant Jesus whom she
hold on her left. She is calm and lovely, the Child full of life, with a smile
on Hi lips. His tiny hand are about Mary's neck-one on the cords which
fa ten her cloak at the throat, the other on her headdress. She is shown to the
wai t and the Christ-child in full, one of His feet resting on Mary's hand. In
the background, in almost flat relief, are two cherubs floating in the clouds.
Inventory numbers 137 and F.350.
Thi , famou relief from the Liechtenstein Gallery in Vienna is one of Antonio
Ro ·:.ellino'- loveliest composition ; it was so popular that it was copied fre
quently during the XVth and XVIth centuries (see F. Schottmiiller, Die
Italieni chen und Spanischen Bildwerke ... , Band I, p. 49, no. 90, men
tionina a tucco copy in the Kaiser Friedrich Museum).
The r ·lief ha b en puhli:;h d a::. the work of Antonio Ros ellino, in con
forrnil) \\ ith \\'. von Bode's ori~inal attribution, but orne art historians (P.
:<'hu!Jrinr;, L. Du::-.::-.1 r. H. Gott ·chalk) have favored the attribution of the
'' ork to Ben detlo da '\Iaiano .
. OLLECTIO"\: Prine of Liecht n ·tein,
Li chten tein Gallery. Vienna
28
BIBLIOGRAPHY: Fuhrer durch die Fiirstlich Liechtensteinsche Gemiildegalerie in Wien, by A. Kronfeld, Vienna, 1931, Gallery I, p. XIV.
W. von Bode, Die Fi.irstlich Liechtenstein'sche Galerie in Wien, Vienna, 1896, p. 130.
W. von Bode, Denkmiiler der Renaissance·Sculptur Toscanas, Munich 1892-1905, Pl. 329a, p. 103.
P. Schubring, Die Italienische Plastik des Quattrocento, Berlin, ca. 1915, p. 157 and p. 281, fig. 208 (as Benedetto da Maiano).
L. Dussler, Benedetto da Majano, Munich, ca. 1924, p. 82 (as Benedetto da Maiano).
M. Weinberger and U. Middeldorf, "Unbeachtete Werke der Bruder Ros ellino," Miinchner J ahrbuch der Bildenden Kunst, Band V, 1928, p. 99.
H. Gottschalk, Antonio Rosselli no, Liegnitz, 1930, p. 96 (as Benedetto da Maiano).
F. chottmi.iller Die Italienischen und Spanischen Bildwerke der Renai ance und des Barock, Berlin, 1933, Band I, p. 49, no. 90.
(Seep. 37 for study by W. R. Valentiner of April1953.)
29
Pl. VI. A TO IO ROSSELLI 0, Madonna and Child
30
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Fa('~imile of Dr. \l' . R. \'alentiner's · tudy of Charitas
hy GJOVA ' l BALDUCCI
31
Fur~imilt• of Dr. \\' . R. Valentiner's tudy of Prudentia
by BO;"iiNO DA CAMPIOI\'E
32
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by BO I 10 DA CAMPIO E
33
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Fa· imile of Dr W R V 1 . . . . a entmer' study of Madonna and Child
by A TO 10 RO SELLI TQ
37