From 1807, under the regime of Prince Johann I von Liechtenstein (1760–1836), the collections were gradually transferred to the summer palace, where there was considerably more space for them to be adequately displayed than in the rather cramped premises of the city palace on Bankgasse.A great lover of art, he increased the holdings of the collection, particularly in the fields of Dutch and Italian painting.works by early Italian painters were gifted to the paintings gallery of the Academy of Fine Arts in Vienna, and works from the Biedermeier age and the later 19th century were given to the forerunner of today's Wien Museum).
The same year, for the first time in its history, the family moved its principal residence to Vaduz, transferring its art treasures there in the last few weeks of the war.
Surviving correspondence dating to 1597 between Emperor Rudolf II and Karl I von Liechtenstein (1569–1627), the first of the princes to be seized by a true passion for collecting, indicates that the latter possessed a remarkable collection of paintings and Kunstkammer pieces in his Prague residence.
The existence of a silver chamber with more than 900 different items is documented at Feldsberg/Valtice.
Inventories indicate that the prince kept tapestries and carpets, precious items of furniture, objects of silver and gold, vessels carved out of semi-precious stone as well as paintings in his , which may be regarded as the original 'germ cell' of the Princely Collections.
Karl I collected not only existing works but also commissioned major pieces for his collections.
The two portraits of the prince by Hyacinthe Rigaud belong to this era as well as the enamel plaques by Pierre Courteys with scenes from the Trojan War, which are among the finest examples of enamel work produced in Limoges during the sixteenth century.