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Az újabb ásatások során Pest megyében több, az 5. század első felére keltezhető lelőhely vált ismertté. Köztük egy település részlete Biatorbágy, Káposztás-dűlőben, amely az első ilyen korú feltárt telep a megye dunántúli részén. Leletanyagában keverednek a késő római és kora népvándorlás kori tárgyak. Különösen jelentős a csontfésűk nagy száma. A tanulmány megkísérli a tárgyalt korszakon belül –összekapcsolva hasonló korú leletekkel –időrendi sorrendbe állítani a Páty és Biatorbágy térségében feltárt új lelőhelyeket.
Kísérlet néhány magyarországi ötvösjegy feloldására XV.
Attempt at deciphering some Hungarian goldsmith’s marks XV.
As the next step in a series of publications, the author presents so-far unpublished maker marks and mark variants found in art collections and the art trade, trying to decipher the newly found ones. Concerning already known marks, he relies basically on Elemér Kőszeghy’s book of marks and when the Pest-Buda marks are considered, the work of Ilona P. Brestyányszky is consulted. Additional information is now provided, and some earlier information corrected, about the 19th century goldsmiths of Buda, Pest, Arad, Besztercebánya, Kolozsvár, Lőcse, Nagyvárad, Pápa, Rozsnyó, Veszprém on the basis of registers of births, marriages and deaths and other lists. In the appendix there is a tabular summary of the exhibition and art trade occurrences of artifacts bearing the hallmark of the Kolozsvár goldsmith Sándor Erdődi who worked in the 1840s and ‘50s.
„Akit a sors kiemelt a többi festő közül” Schervitz Mátyás (†1771) budai Festő oltárképei
Altarpieces of Buda painter Mátyás Schervitz (†1771)
Mátyás Schervitz (Buda ? – Buda 1771) was a popular and highly esteemed artist in Buda-Víziváros in his time, as his epitaph also proves. The painter of Illyrian origin occurs by a variety of name forms in the sources: Scherviz, Scherwiz, Scherwitz, Scheravitz, Scheravics, Seravits, Scherevitsch, Scherevitz, Scherowitz, Schibiz, Szeravics, Xeravich. The hypothetical dates of his birth and death proposed by his first monographer Arnold Schoen (Mathias Tarvitz, c. 1701–1771, St Anne Parish Church of Upper Víziváros) can only be questioned in theory by the more recently discovered works painted in 1768–69, for the registers of the Franciscan Church of St Francis’s Wounds – to which the family presumably belonged – are latent at present.
The painter Schervitz became a registered citizen of Buda in 1741. He received several minor assignments (such as flag painting, gilding, marbling, ephemeral triumphal arches) and some greater jobs (paintings for the high altars of the St Catherine Church in Tabán and the St Elisabeth Church in Víziváros, and the fresco in the sanctuary of the Újlak church) in Buda, but these works have perished over the centuries. The ruined St Elisabeth altarpiece of the Capuchins of Víziváros (1760) is known from a photo. A documented work by his hand is the fresco decoration of the library room at the Ráday mansion in Pécel dated 1763. The St Ivo altarpiece of the Óbuda parish church (1759) was added to the oeuvre after style critical analyses, similarly to the sanctuary frescoes in the Church of St Francis’s Wounds (1756).
The key to the altar painting style of Mátyás Schervitz is provided by the altarpieces (St Anne, St Francis Seraphicus) in the former Franciscan church of Dunaföldvár painted in 1768 and certified with archival data. His Immaculate Conception with Adam and Eve in the same church was also identified by its style. With their help, the picture of the bye-altar showing the Stigmatization of St Francis in the former Franciscan church of Zombor (1769) and the high altar picture (1756), as well as the altarpiece of St Margaret of Cortona (1756) in the church of St Francis’s Wounds in Víziváros can now be safely attributed to him. These works help us recognize Schervitz’s brushwork on the altarpiece of the high altar in the former Dominican church of Pest (c. 1760) showing the founder of the order St Dominic receiving the Rosary from the Virgin. The Guardian Angel altarpiece in the Franciscan church of Vác can also be recognized as his work. Research presumes that the artist working at such high level of quality was educated in Vienna; the clue to identifying his master lies perhaps in his faultless presentation of architectural space. Mátyás Schervitz applied the conventional baroque oil painting technique (canvas support built from several pieces, yellow ground, patch painting). His anatomical knowledge was excellent, his rendering of space virtuosic, his figures are lively, proportionately built and markedly characterized. He did not sign any of his so-far known works.
.z. Daria 33 130 Maróti, É. 1999 Előzetes jelentés a Pátyon végzett leletmentésről, Kutatások Pest Megyében, Tudományos Konferencia II
Kísérlet néhány magyarországi ötvösjegy feloldására XVI
Attempting to resolve some Hungarian goldsmith’s marks XVI
Going on with a series of articles, I present again some so-far unknown maker’s marks and mark variants in private collections and the art trade, and try to identify them. When already published marks are at issue, Elemér Kőszeghy’s book of marks is referred to, and Ilona P. Brestyánszky’s work is mentioned with the mark’s serial number there when marks of Pest-Buda are discussed. I try to clarify the biography of goldsmiths active in Hungarian towns on the basis of archival research, first of all with parish register data. In the appendix I give a list of gold- and silversmiths named in the registers of the Israelite community of Óbuda between 1851 and 1895, and those in the census of 1850.
Die Wiener Weltausstellung 1873. •
Die Berichterstattung von Ármin Vámbéry und Max Nordau über die orientalische Abteilung sowie den Schah-Besuch in der Kaiserstadt.
seines Freundes, des späteren Schriftstellers, Kulturkritikers und Zionisten, Max Nordau (1849, Pest–1923, Paris), zulassen. 1 Die Wiener Weltausstellung 1873 Zur ersten Selbstrepräsentation der Menschheit von weltumfassendem Anspruch kam es 1851 in
Meister und Werkstätten. Ausbau und Einrichtung der Benediktinerabtei in Tihany im 18. Jahrhundert
Masters and Workshops. The construction and the furnishing of the Benedictine Abbey of Tihany in the 18th Century
, 1055–1701] (A Pannonhalmi Szent-Benedek-Rend története 10.), Budapest 1908 . 12. Eszláry 1957 – Eszláry , Éva : Hebenstreit József pesti szobrász [József Hebenstreit , Bildhauer aus Pest], Művészettörténeti
