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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Fa· imile of Dr W R V 1 . . . . a entmer' study of Madonna and Child

by A TO 10 RO SELLI TQ

37