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“Gyöngyházbúl való pelikán forma…” Rákóczi László csészéje Hamburgban
“Pelican shape made out of mother-of-pearl…” László Rákóczi's cup in Hamburg
The mother-of-pearl cup in a silver mount with a lid adorned with a pelican was first mentioned in the 1704 inventory of the properties of Erzsébet Rákóczi (1645–1707). Presumably inherited from her father László Rákóczi, the goldsmith's object passed to the treasury of the Pálffy family after Erzsébet's death, in 1713, only to disappear from the sources for centuries. In 1907 it was published und sold together with the collection of architect Kálmán Giergl, then it appeared in Germany in 1956. Since 1957 it has been preserved in the Museum für Kunst und Gewerbe in Hamburg. The type of vessel, technique and style allow the assumption that the cup was made in West Europe, perhaps England or the Low Countries around 1630, originally with another lid ornament. It probably came to Hungary via the wedding of Zsigmond Rákóczi and Henriette of Pfalz in 1651. After the early death of the spouses, probably Zsigmond Rákóczi's mother Zsuzsanna Lórántffy had the pelican created for the cup and gave it as a nuptial present to her nephew László Rákóczi when he married Calvinist Erzsébet Bánffy in 1654.
Adatok a magyarországi ötvösség történetéhez VI. Nagyszombat (I. rész: 15–17. század)
Addenda to the history of goldsmith's art in Hungary VI. Nagyszombat / Trnava (Part I: 15–17th centuries)
The paper is a chapter in the systematic exploration of goldsmith's art in historical Hungary. While in another series of publications, the author summarizes the historical information on goldsmith dynasties in various towns, matching it with the extant works. He makes an attempt to redefine the 16–17th century proof-marks. Here, he relies on the registers of Nagyszombat (today: Trnava in Slovakia). In the Addenda he publishes proof-marks and objects who have wrongly attributed to masters from Nagyszombat.
The study is the new installment of a series running already for 23 years. The author systematically collects masters' marks of goldsmith's ware mostly cropping up in the art trade, trying to identify the towns and masters with the help of earlier research literature (Elemér Kőszeghy, 1936; Ilona P. Brestyánszky, 1977; Emília Földes 1978), often correcting the information they provide. The work is complemented by thorough archival research, with all available data about identified goldsmiths in city registers being published. The present paper identifies the works and marks of Pest goldsmiths (Ignác Ábrahámfy, Károly Steindl, Lajos Müller, Károly Stammer, first half of 19th century).
The next unit comprises the goldsmithing of Eger, Győr, Kolozsvár (Cluj-Napoca, Romania) (Josephus Mikovinyi, Adolf Ecker, György Péterfy, János Sárga) and Nagyvárad (Oradea, Romania) (Károly Schvambek) of 19th century. He enriches our knowledge of the goldsmiths of the one-time capital of Hungary, Pozsony (Bratislava, Slovakia) with new marks and objects (Melchior Gassur, Leopod Dorfner, Johann Christoph Holstein from the 17–18th centuries), and from Pozsony-Vártelek from the 19th century.
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.
Kísérlet néhány magyarországi ötvösjegy feloldására XII.
An attempt to solving some Hungarian goldsmith's marks XII
The study is the new installment of a series running already for 22 years. The author systematically collects masters' marks of goldsmith's ware mostly cropping up in the art trade, trying to identify the towns and masters with the help of earlier research literature (Elemér Kőszeghy, 1936; Ilona P. Brestyánszky, 1977), often correcting the information they provide. The work is complemented by thorough archival research, with all available data about identified goldsmiths in city registers being published. The present paper first identifies the works and marks of Pest goldsmiths (Ferenc József Trautzl around 1780, József Trautzl around 1824–39, János Lehman, 1862, János Krieck, 1829, I. József Pasperger, around 1780), followed by a new master's mark of Wenzel Gretschl of Buda on a work of 1821. He discussed some of them earlier, too; now he calls attention to some forged objects. A separate unit comprises the goldsmithing of Bán (Bánovce, Slovakia) and Rozsnyó (Rožnava, Slovakia) in Trencsén county: in the former town János Oravszky and János Ottó worked almost synchronously (around 1828), while the son of Bán goldsmith Leopold Goldner, Anton, can be documented in Rozsnyó. In addition to 19th century goldsmiths of Gyöngyös (János Goldberger) and Kecskemét (Dávid Auslener), he has data on an 18th century master of Miskolc (Ferenc Szombati, between 1750 and 1795). In Pécs, he attributes a new work to the earlier presented Jakab Posz, then he enriches our knowledge of the goldsmiths of the one-time capital of Hungary, Pozsony with new marks and objects (Fidelis Mayer, József Steinmassl, János Hauck, Mihály Ehrenhoffer, Joannes Gerick, Joseph Weinstabl from the first half of the 19th c.). Finally he introduces the earlier completely unknown goldsmithing in the market town of Tolna through the 19th c. work of Lajos Schulz.
This is the sixth part of a series of publications about the history of goldsmith's art in Hungary based on archival sources, registrars, citizens’ registers, guild documents, tax registers processed by cities and regions. The goldsmiths and silversmiths revealed by the above documents by name are compared with the old research literature to rectify its data on the one hand, and on the other, goldsmith's marks and objects are attributed to the particular artists. The present publication reviews the history of goldsmith's art in Nagyszombat (today Trnava, Slovakia), the first part of which – the 15–17th century – was released in Művészettörténeti Értesítő 2009/1. Now the equally rich output of the 18–19th centuries is taken stock of, together with the names of several artists. Some published art works are known from public collections, others from private owners or art dealers.