NEUE RESIDENZ
Mozartplatz 1
5010 Salzburg

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Mag. Peter Husty
T +43-662-62 08 08-707
F +43-662-62 08 08-720


 

 

Paintings before 1800

History

Several oil portraits of the Salzburg archbishops were mentioned already in the first annual report of the then Municipal Museum, also portraits of Elector Ferdinand of Tuscany, the Bavarian king Maximilian I, and the Austrian emperor Francis I, which documented the latest events of the time in Salzburg’s history. Collecting paintings has always played a central role in the acquisition policy of the Salzburg Museum. In 2001, the entire Painting Collection was divided up into two sections; there was a hiatus in 1800, so that the collection with paintings dated up to 1800 contains examples from the Middle Ages as well as the Early Modern Age and the Baroque era up to the end of the  18th century.

Collection range

Several oil portraits of the Salzburg archbishops were mentioned already in the first annual report of the then Municipal Museum, also portraits of Elector Ferdinand of Tuscany, the Bavarian king Maximilian I, and the Austrian emperor Francis I, which documented the latest events of the time in Salzburg’s history. Collecting paintings has always played a central role in the acquisition policy of the Salzburg Museum. In 2001, the entire Painting Collection was divided up into two sections; there was a hiatus in 1800, so that the collection with paintings dated up to 1800 contains examples from the Middle Ages as well as the Early Modern Age and the Baroque era up to the end of the  18th century.

New acquisitions

The acquisitions in this collection are sparse and based on market availability and the exigencies of the budget – bequests are rare in this field. A concrete acquisition policy is not possible because of the scarcity of means. One of the most important new acquisitions of recent years is a view of the City of Salzburg from 1599, which shows the oldest painted view of Salzburg and was purchased with funds from the Salzburg Museum Association.

Transparency and function

The Painting Collection is a central item in exhibition policy; hardly an exhibition is held without the inclusion paintings. The paintings are also much desired as loan objects by other museums. In particular the portrait collection is valuable apart from its worth as portraiture in presenting a fascinating art-historical overview across three hundred years of Salzburg history.
   

Image gallery

Portrait of the Salzburg archbishop Count Johann Ernst Thun, unknown artist, 1688, oil on canvas, inv. no. 17-25
Portrait of the Salzburg archbishop Count Johann Ernst Thun, unknown artist, 1688, oil on canvas, inv. no. 17-25
Portrait of the Salzburg archbishop Wolf Dietrich von Raitenau, Kaspar Memberger the Elder, 1589, oil on canvas, inv. no. 21-25
Portrait of the Salzburg archbishop Wolf Dietrich von Raitenau, Kaspar Memberger the Elder, 1589, oil on canvas, inv. no. 21-25
Portrait of the privy councillor Thomas Perger auf Emslieb, unknown artist, ca. 1640, oil on canvas, inv. no. 28-27
Portrait of the privy councillor Thomas Perger auf Emslieb, unknown artist, ca. 1640, oil on canvas, inv. no. 28-27
Collapse of the main bridge in 1787, Andreas (Andrä) Langwider (Langwieder), post-1787, oil on canvas, inv. no. 50-25
Collapse of the main bridge in 1787, Andreas (Andrä) Langwider (Langwieder), post-1787, oil on canvas, inv. no. 50-25
Trifrons (Trinity?), unknown artist, 18th c., oil on wood, inv. no. 54-52. 54-52
Trifrons (Trinity?), unknown artist, 18th c., oil on wood, inv. no. 54-52
Panel of an altar to the Blessed Virgin from Aspach: Parting of Christ from his mother Mary (inner side), Master of the Altar of Aspach, ca. 1520, tempera on wood, inv. no. 60-29
Panel of an altar to the Blessed Virgin from Aspach: Parting of Christ from his mother Mary (inner side), Master of the Altar of Aspach, ca. 1520, tempera on wood, inv. no. 60-29
Portrait of the beer king Gambrinus and scenes of the beer production process, unknown artist, 16th c., oil on canvas, inv. no. 122-25
Portrait of the beer king Gambrinus and scenes of the beer production process, unknown artist, 16th c., oil on canvas, inv. no. 122-25
St. Hermes, Conrad Laib, tempera on fir wood, inv. no. 180-32
St. Hermes, Conrad Laib, tempera on fir wood, inv. no. 180-32
View of Salzburg, Philipp van den Bossche (Bosch, Busch, Posch), 1599, oil on copper plate, Salzburg Museum (permanent loan from the Salzburg Museum Association), inv. no. 1900-2013
View of Salzburg, Philipp van den Bossche (Bosch, Busch, Posch), 1599, oil on copper plate, Salzburg Museum (permanent loan from the Salzburg Museum Association), inv. no. 1900-2013
Winged altar of the Blessed Virgin with depiction of the history of the birth of Christ, Master of the Virgo inter Virgines, ca. 1490, tempera on wood (oak), inv. no. 214-32
Winged altar of the Blessed Virgin with depiction of the history of the birth of Christ, Master of the Virgo inter Virgines, ca. 1490, tempera on wood (oak), inv. no. 214-32
Triumph der Immaculata, Johann Michael Rottmayr, 1697, Ă–l auf Leinwand, Inv.-Nr. 488-31
Triumph der Immaculata, Johann Michael Rottmayr, 1697, Ă–l auf Leinwand, Inv.-Nr. 488-31
Colonel Leonhard von Ehrgott (commander of the Hohensalzburg Fortress, from 1611-17 guard of the imprisoned archbishop Wolf Dietrich and owner of the palace agricultural estate in Liefering) venerating the Madonna of the Rosary, Hans von Aachen, ca. 1596, oil on canvas, inv. no. 512-42
Colonel Leonhard von Ehrgott (commander of the Hohensalzburg Fortress, from 1611-17 guard of the imprisoned archbishop Wolf Dietrich and owner of the palace agricultural estate in Liefering) venerating the Madonna of the Rosary, Hans von Aachen, ca. 1596,
Parade on Residenzplatz, Carl Schneeweis, 1776, oil on wood, inv. no. 603-49
Parade on Residenzplatz, Carl Schneeweis, 1776, oil on wood, inv. no. 603-49
View onto Leopoldskron Palace, Albert Christoph Dies, 1797, oil on canvas, inv. no. 1254-86
View onto Leopoldskron Palace, Albert Christoph Dies, 1797, oil on canvas, inv. no. 1254-86
The Annunciation (Sunday side), Conrad Laib, ca. 1450, tempera on wood, Salzburg Museum (purchase supported by the Committee for Salzburg Art Treasures and the City of Salzburg), inv. no. 1371-87
The Annunciation (Sunday side), Conrad Laib, ca. 1450, tempera on wood, Salzburg Museum (purchase supported by the Committee for Salzburg Art Treasures and the City of Salzburg), inv. no. 1371-87
Portrait of Archbishop Sigismund von Schrattenbach, Franz Xaver König, 1755, oil on canvas, inv. no. 2560-49
Portrait of Archbishop Sigismund von Schrattenbach, Franz Xaver König, 1755, oil on canvas, inv. no. 2560-49
Salzburg Museum