This volume contains an analysis of an art collection from the seventeenth century, whose erstwhi... more This volume contains an analysis of an art collection from the seventeenth century, whose erstwhile owner and location are both unknown. All that survives of the collection is its anonymous inventory, but the descriptions within it allow us to deduce that the works were of exceptionally high quality. My research reveals a complex network of contacts stretching from Berlin to Amsterdam, involving some of the most prominent art collectors in Europe; it outlines a collection of paintings that was built up in Vienna and probably sold in Prague; and it shines new light on the provenance of some extraordinarily important artworks (including an antique imperial cameo, and works by artists such as Christoph Paudiss, Bartholomäus Spranger, Hans Baldung Grien, etc.).
In the second half of the 1930s, a large quantity of Late Gothic panel paintings from Erdődy Cast... more In the second half of the 1930s, a large quantity of Late Gothic panel paintings from Erdődy Castle in Hlohovec (hun. Galgóc) found their way onto the international art market. The provenance of these works is unknown, and they were not documented in the family’s possession in earlier periods; even today, researchers – with a few exceptions – do not link them to the Erdődy family. Some of the paintings were bought from Vilmos Erdődy by the Swiss art dealer Theodor Fischer, who sold them on at different auctions between 1935 and 1937. The others remained in Galgóc, where they were nationalised in 1945. In the first part of this study, by publishing archive sources and presenting archive photographs, I argue that the works originated from the collection of Christoph Anton Migazzi, Archbishop of Vienna, which were later inherited by Irma Migazzi, wife of Imre Erdődy. They were once kept in Aranyosmarót (Zlaté Moravce) Castle, which was bought and furnished by the archbishop in 1779, and were transferred shortly before 1918 to Galgóc, when Irma Migazzi liquidated the fee tail estate in Aranyosmarót.
Die Frau als Gönnerin. Kulturvermittlung, Repräsentation und Fördernetzwerke in der frühneuzeitlichen Habsburger Monarchie. Hg. von Lilla Krász und Brigitta Pesti. Wien, Praesens Verlag, 2023
This article provides information about the early provenance of the Paolo Veronese painting entit... more This article provides information about the early provenance of the Paolo Veronese painting entitled Saint Catherine of Alexandria in Prison in The Metropolitan Museum of Art in New York. The painting can most likely be traced back to sixteenth-and seventeenth-century Augsburg. Descriptions that match the Veronese painting are found in the inventories of works of art of two very wealthy Augsburg merchants: one is in the post mortem inventory of Octavian Secundus Fugger (ca. 1600/1601), the other in a list of works of art from the collection of Hans Steininger (ca. 1641/42). Steininger’s collection was dispersed after his death, but many of the paintings he owned can still be identified. Veronese’s Saint Catherine of Alexandria may be one of them.
Nuove scenografie del collezionismo europeo tra Seicento e Ottocento. Attori, pratiche, riflessioni di metodo. A cura di Cecilia Mazzetti di Pietralata, Sebastian Schütze. Berlin/Boston, de Gruyter, 2022
Nel contributo esporrò una nuova ricostruzione di una serie di dipinti che furono di proprietà di... more Nel contributo esporrò una nuova ricostruzione di una serie di dipinti che furono di proprietà di Hans Steininger (1552–1634), un ricchissimo mercante di Augusta. Della raccolta di Steininger, che comprendeva soprattutto dipinti e statue antichi, finora erano noti solamente i quadri di Paris Bordone. Allo stato attuale della ricerca, si ritiene che Steininger abbia ottenuto il gruppo di sei dipinti dal lascito di Christoph Fugger, morto nel 1579, e successivamente il suo erede lo abbia venduto all’arciduca Leopoldo Guglielmo d’Austria. Alcuni quadri sono anche stati identificati nelle collezioni imperiali di Vienna e Praga. Secondo la mia ipotesi, invece, Hans Steininger non aveva posseduto i dipinti a lui collegati dalla critica, e neppure li aveva acquisiti da Christoph Fugger. Non furono le opere di Paris Bordone ad essere vendute dal suo erede a Vienna, e nemmeno fu l’arciduca Leopoldo Guglielmo ad averle acquisite.
A Forgotten Hungarian Royal Dynasty: The Szapolyais. Ed. by Pál Fodor and Szabolcs Varga. Budapest, 2020
After the male line of the Szapolyai family died out in 1571, the treasury of John Szapolyai and ... more After the male line of the Szapolyai family died out in 1571, the treasury of John Szapolyai and his son Johan Sigismund became dispersed. Its pieces are only known to us from written sources: wills, protocols and inventories. Even though some of the pieces can be traced in the sources for quite a long time (a unicorn pendant decorated with diamonds, the gilded silver altarpiece in the castle chapel in Buda, John Sigismund’s golden cross, a beaded tapestry of King Matthias), non of the objects can be identified today. Nevertheless, it was instructive to examine the precious items in the sources. It became visible how ’myths” of royal origin were transferred from one object tot he other and how the respect for the House of Szapolyai changed: while objects that were assumed to belong to the Szapolyais appeared regularly in written sources in the 16th century, there is no trace of them in the 17th and 18th centuries, not even in cases where the origin of an object was verified by a coat of arms (the Szapolyai cup from the Esterházy treasury). In the 19th century, however, with the shift in the public's opinion of Szapolyai, we can once again witness an increase in mentions of his treasures. Most of them, however, were forgeries, or at least pieces that were falsely associated with the Szapolyais.
The Kunstkammer of Johann Septimius Jörger in Nuremberg, created in the middle of the 1630s and d... more The Kunstkammer of Johann Septimius Jörger in Nuremberg, created in the middle of the 1630s and dispersed only after 1676, is not among the well-known collections of the 17th century. It is not mentioned in the correspondence of famous art collectors, nor is it recorded in the travelogues of the time. Only sporadic information is available about the works of art that had been kept in the Kunstkammer. We regard the owner as an art collector because of a watercolour in the collection of prints and drawings of the University Library of Erlangen, in which the Nuremberg painter Michael Herr (1591–1661) depicted the interior of Jörger’s Kunstkammer. The present contribution aims to enrich our knowledge of this collection based on two new sources, namely a visual representation (cabinet painting) and an inventory of the Kunstkammer drawn up in 1667.
Egy elfeledett magyar királyi dinasztia: A Szapolyaiak. Szerk. Fodor Pál és Varga Szabolcs. Budapest, 2020
(for English see "The 'Legacy' of the Szapolyais") Szapolyai János és fia, János Zsigmond kincstá... more (for English see "The 'Legacy' of the Szapolyais") Szapolyai János és fia, János Zsigmond kincstára 1571 után, a család fiági kihalásával szétszóródott, darabjait ma már csak írott forrásokból: végrendeletekből, jegyzőkönyvekből, inventáriumokból ismerjük. Bár közülük néhány kiemelkedően fontos darab még sokáig nyomon követhető a forrásokban (pl. egy gyémántos unikornis, a budai várkápolna aranyozott ezüstoltára, János Zsigmond aranykeresztje, Mátyás király gyöngyös kárpitja), tárgyi valójában ma már egyik sem azonosítható. Ennek ellenére tanulságos volt figyelemmel kísérni az értéktárgyakat a forrásokban. Láthatóvá vált, hogyan tapadnak a királyi eredetről szóló „mítoszok” egyik tárgyról a másikra. Jól követhető volt a Szapolyai-ház iránti tisztelet dinamikája is: míg a 16. században még gyakran bukkantak fel az írott forrásokban tőlük eredeztetett tárgyak, a 17–18. század fordulójától ezeknek nincs többé nyomuk. Még olyan esetben sem, amikor a mű származását címer tanúsítja (ld. az Esterházy-kincstár Szapolyai-serlege). A 19. században, Szapolyai megítélésének változásával újra megszaporodtak említéseik, ezek azonban nagyrészt hamisítványokról vagy legalábbis tévesen hozzájuk kötött darabokról szóltak.
Érzelmek és mostohák. Mozaikcsaládok a régi Magyarországon (1500-1850). Szerk. Erdélyi Gabriella. Budapest, 2019
Despite all obvious neutrality, the property provisions of the wills inform us about the personal... more Despite all obvious neutrality, the property provisions of the wills inform us about the personality, emotions as well as family relationships of the testator. This applies in particular to documents that deviate from common law in a positive or negative direction. In the study, I draw attention to the fact that deviations from the norm can be viewed as expressions of emotions. The degree of deviation is being related to the intensity of the feeling. Text passages about movable property were found to be particularly suitable for analysis because the testator was free to dispose of them, so that their distribution was more influenced by the emotional ties between family members. Whether the will of the testator came into effect at a later point in time, however, was a question of agreement: It was not primarily the law, but the power relations of the testator or the interest groups that decided. The wills of Paul Esterházy, which were described in detail in the study, provide a prime example of this.
The paper publishes the lists of dowries and wedding gifts as well as inventories of jewels belon... more The paper publishes the lists of dowries and wedding gifts as well as inventories of jewels belonging to a Hungarian countess, Krisztina Nyáry of Bedeg (1604-1641). She received the valuables from both her mother, Kata Várday and her first husband, Imre Thurzó and she brought them into the second marriage with Miklós Esterházy, Palatine of the Kingdom of Hungary. In the decade and a half that passed until her death, Krisztina Nyáry is likely to have changed or given away many pieces of jewelry, but some pieces of her dowry can be recognized in her probate inventory. A part of the precious items inherited by her children entered the Esterházy treasury.
Szent István király bazilikájának utóélete. A Középkori Romkert 1938-tól napjainkig. Szerk. Gärtner Petra. Székesfehérvár, Szent István király Múzeum, 2015
In 1930 a Roman stone sarcophagus, which came from Székesfehérvár to the Hungarian National Museu... more In 1930 a Roman stone sarcophagus, which came from Székesfehérvár to the Hungarian National Museum in the 19th century, was identified with the sarcophagus of St. Stephen, King of Hungary. The identification was based on information that the stone monument was excavated in the middle of the destroyed provost church, where, according to legend, the king was buried. Modern research has already changed the dating of the sarcophagus, proving that the Roman sarcophagus was reworked on the occasion of the canonization of King Stephen, in 1083. So, it was not a coffin but a sarcophagus reliquary. The paper investigates the sources on archaeological site and argues with the help of previously disregarded documents that any information available to us about the date and place of its discovery relates to another Roman tombstone.
Count Tamás Erdődy (1558–1624), Ban of Slavonia and Croatia, one of the leading knights bannerets... more Count Tamás Erdődy (1558–1624), Ban of Slavonia and Croatia, one of the leading knights bannerets in the Kingdom of Hungary, pursued an illustrious political career: at different stages of his life he held several high offices of state, he was a successful participant in the fight against the Ottomans, he enjoyed the unconditional confidence of the Habsburg rulers, and he was nominated four times to the post of palatine, the highest position in the land, second only to the king. As a patron of the arts he was quick to recognise the potential power of visual devices. His support for the arts was closely connected to his political activities, and the works he commissioned, including the building work carried out on his estates, all played a part in his political ambitions and were linked to particular stages of his career. In his campaign to be elected palatine, he defined himself as Christ’s victorious warrior, a hero defending both his nation and the Christian faith. This was reflected in his chosen motto, “In Deo vici,” with its allusions to Constantine the Great; it was proven by the military title bestowed upon him, as a knight of the Order of the Precious Blood of our Saviour Jesus Christ of Mantua; and this image was reinforced by the heroic pictures of him, and by the posthumous portraits painted after them. Though it failed to achieve its political objective – for Erdődy never became palatine – the complex programme of patronage he followed, rare in the extreme in the Kingdom of Hungary in the early modern period, still dominates the way we regard this eminent nobleman.
A Pejacsevich család művészeti öröksége / Likovna baština obitelji Pejačević, 2016
The counts Erdődy inherited their estates in southern Transdanubia (in today's Vas county in Hung... more The counts Erdődy inherited their estates in southern Transdanubia (in today's Vas county in Hungary and in Burgenland in Austria) from Cardinal Tamás Bakócz of Erdőd (1442–1521), but this area did not play an essential role in their lives at that time. The family had strong ties to Slavonia and Styria, both economically and politically. The family's marriage strategy was closely linked to their property policy. Above all, they tried to establish relationships with Styrian (Puchhaim, Stubenberg) or Slavonian (Draskovich, Keglevich, Rátkay) families. The marriage of Mária Eleonóra Erdődy and Károly Pejacsevich (protagonists of the exhibition catalog) fits perfectly into this context. Mária Eleonóra's father, Lajos Erdődy, made this area a cultural center of the region. He familiarized himself with the teachings of Freemasonry at a young age and even founded his own Masonic lodge in Eberau.
(with a longer German abstract)
This volume contains an analysis of an art collection from the seventeenth century, whose erstwhi... more This volume contains an analysis of an art collection from the seventeenth century, whose erstwhile owner and location are both unknown. All that survives of the collection is its anonymous inventory, but the descriptions within it allow us to deduce that the works were of exceptionally high quality. My research reveals a complex network of contacts stretching from Berlin to Amsterdam, involving some of the most prominent art collectors in Europe; it outlines a collection of paintings that was built up in Vienna and probably sold in Prague; and it shines new light on the provenance of some extraordinarily important artworks (including an antique imperial cameo, and works by artists such as Christoph Paudiss, Bartholomäus Spranger, Hans Baldung Grien, etc.).
In the second half of the 1930s, a large quantity of Late Gothic panel paintings from Erdődy Cast... more In the second half of the 1930s, a large quantity of Late Gothic panel paintings from Erdődy Castle in Hlohovec (hun. Galgóc) found their way onto the international art market. The provenance of these works is unknown, and they were not documented in the family’s possession in earlier periods; even today, researchers – with a few exceptions – do not link them to the Erdődy family. Some of the paintings were bought from Vilmos Erdődy by the Swiss art dealer Theodor Fischer, who sold them on at different auctions between 1935 and 1937. The others remained in Galgóc, where they were nationalised in 1945. In the first part of this study, by publishing archive sources and presenting archive photographs, I argue that the works originated from the collection of Christoph Anton Migazzi, Archbishop of Vienna, which were later inherited by Irma Migazzi, wife of Imre Erdődy. They were once kept in Aranyosmarót (Zlaté Moravce) Castle, which was bought and furnished by the archbishop in 1779, and were transferred shortly before 1918 to Galgóc, when Irma Migazzi liquidated the fee tail estate in Aranyosmarót.
Die Frau als Gönnerin. Kulturvermittlung, Repräsentation und Fördernetzwerke in der frühneuzeitlichen Habsburger Monarchie. Hg. von Lilla Krász und Brigitta Pesti. Wien, Praesens Verlag, 2023
This article provides information about the early provenance of the Paolo Veronese painting entit... more This article provides information about the early provenance of the Paolo Veronese painting entitled Saint Catherine of Alexandria in Prison in The Metropolitan Museum of Art in New York. The painting can most likely be traced back to sixteenth-and seventeenth-century Augsburg. Descriptions that match the Veronese painting are found in the inventories of works of art of two very wealthy Augsburg merchants: one is in the post mortem inventory of Octavian Secundus Fugger (ca. 1600/1601), the other in a list of works of art from the collection of Hans Steininger (ca. 1641/42). Steininger’s collection was dispersed after his death, but many of the paintings he owned can still be identified. Veronese’s Saint Catherine of Alexandria may be one of them.
Nuove scenografie del collezionismo europeo tra Seicento e Ottocento. Attori, pratiche, riflessioni di metodo. A cura di Cecilia Mazzetti di Pietralata, Sebastian Schütze. Berlin/Boston, de Gruyter, 2022
Nel contributo esporrò una nuova ricostruzione di una serie di dipinti che furono di proprietà di... more Nel contributo esporrò una nuova ricostruzione di una serie di dipinti che furono di proprietà di Hans Steininger (1552–1634), un ricchissimo mercante di Augusta. Della raccolta di Steininger, che comprendeva soprattutto dipinti e statue antichi, finora erano noti solamente i quadri di Paris Bordone. Allo stato attuale della ricerca, si ritiene che Steininger abbia ottenuto il gruppo di sei dipinti dal lascito di Christoph Fugger, morto nel 1579, e successivamente il suo erede lo abbia venduto all’arciduca Leopoldo Guglielmo d’Austria. Alcuni quadri sono anche stati identificati nelle collezioni imperiali di Vienna e Praga. Secondo la mia ipotesi, invece, Hans Steininger non aveva posseduto i dipinti a lui collegati dalla critica, e neppure li aveva acquisiti da Christoph Fugger. Non furono le opere di Paris Bordone ad essere vendute dal suo erede a Vienna, e nemmeno fu l’arciduca Leopoldo Guglielmo ad averle acquisite.
A Forgotten Hungarian Royal Dynasty: The Szapolyais. Ed. by Pál Fodor and Szabolcs Varga. Budapest, 2020
After the male line of the Szapolyai family died out in 1571, the treasury of John Szapolyai and ... more After the male line of the Szapolyai family died out in 1571, the treasury of John Szapolyai and his son Johan Sigismund became dispersed. Its pieces are only known to us from written sources: wills, protocols and inventories. Even though some of the pieces can be traced in the sources for quite a long time (a unicorn pendant decorated with diamonds, the gilded silver altarpiece in the castle chapel in Buda, John Sigismund’s golden cross, a beaded tapestry of King Matthias), non of the objects can be identified today. Nevertheless, it was instructive to examine the precious items in the sources. It became visible how ’myths” of royal origin were transferred from one object tot he other and how the respect for the House of Szapolyai changed: while objects that were assumed to belong to the Szapolyais appeared regularly in written sources in the 16th century, there is no trace of them in the 17th and 18th centuries, not even in cases where the origin of an object was verified by a coat of arms (the Szapolyai cup from the Esterházy treasury). In the 19th century, however, with the shift in the public's opinion of Szapolyai, we can once again witness an increase in mentions of his treasures. Most of them, however, were forgeries, or at least pieces that were falsely associated with the Szapolyais.
The Kunstkammer of Johann Septimius Jörger in Nuremberg, created in the middle of the 1630s and d... more The Kunstkammer of Johann Septimius Jörger in Nuremberg, created in the middle of the 1630s and dispersed only after 1676, is not among the well-known collections of the 17th century. It is not mentioned in the correspondence of famous art collectors, nor is it recorded in the travelogues of the time. Only sporadic information is available about the works of art that had been kept in the Kunstkammer. We regard the owner as an art collector because of a watercolour in the collection of prints and drawings of the University Library of Erlangen, in which the Nuremberg painter Michael Herr (1591–1661) depicted the interior of Jörger’s Kunstkammer. The present contribution aims to enrich our knowledge of this collection based on two new sources, namely a visual representation (cabinet painting) and an inventory of the Kunstkammer drawn up in 1667.
Egy elfeledett magyar királyi dinasztia: A Szapolyaiak. Szerk. Fodor Pál és Varga Szabolcs. Budapest, 2020
(for English see "The 'Legacy' of the Szapolyais") Szapolyai János és fia, János Zsigmond kincstá... more (for English see "The 'Legacy' of the Szapolyais") Szapolyai János és fia, János Zsigmond kincstára 1571 után, a család fiági kihalásával szétszóródott, darabjait ma már csak írott forrásokból: végrendeletekből, jegyzőkönyvekből, inventáriumokból ismerjük. Bár közülük néhány kiemelkedően fontos darab még sokáig nyomon követhető a forrásokban (pl. egy gyémántos unikornis, a budai várkápolna aranyozott ezüstoltára, János Zsigmond aranykeresztje, Mátyás király gyöngyös kárpitja), tárgyi valójában ma már egyik sem azonosítható. Ennek ellenére tanulságos volt figyelemmel kísérni az értéktárgyakat a forrásokban. Láthatóvá vált, hogyan tapadnak a királyi eredetről szóló „mítoszok” egyik tárgyról a másikra. Jól követhető volt a Szapolyai-ház iránti tisztelet dinamikája is: míg a 16. században még gyakran bukkantak fel az írott forrásokban tőlük eredeztetett tárgyak, a 17–18. század fordulójától ezeknek nincs többé nyomuk. Még olyan esetben sem, amikor a mű származását címer tanúsítja (ld. az Esterházy-kincstár Szapolyai-serlege). A 19. században, Szapolyai megítélésének változásával újra megszaporodtak említéseik, ezek azonban nagyrészt hamisítványokról vagy legalábbis tévesen hozzájuk kötött darabokról szóltak.
Érzelmek és mostohák. Mozaikcsaládok a régi Magyarországon (1500-1850). Szerk. Erdélyi Gabriella. Budapest, 2019
Despite all obvious neutrality, the property provisions of the wills inform us about the personal... more Despite all obvious neutrality, the property provisions of the wills inform us about the personality, emotions as well as family relationships of the testator. This applies in particular to documents that deviate from common law in a positive or negative direction. In the study, I draw attention to the fact that deviations from the norm can be viewed as expressions of emotions. The degree of deviation is being related to the intensity of the feeling. Text passages about movable property were found to be particularly suitable for analysis because the testator was free to dispose of them, so that their distribution was more influenced by the emotional ties between family members. Whether the will of the testator came into effect at a later point in time, however, was a question of agreement: It was not primarily the law, but the power relations of the testator or the interest groups that decided. The wills of Paul Esterházy, which were described in detail in the study, provide a prime example of this.
The paper publishes the lists of dowries and wedding gifts as well as inventories of jewels belon... more The paper publishes the lists of dowries and wedding gifts as well as inventories of jewels belonging to a Hungarian countess, Krisztina Nyáry of Bedeg (1604-1641). She received the valuables from both her mother, Kata Várday and her first husband, Imre Thurzó and she brought them into the second marriage with Miklós Esterházy, Palatine of the Kingdom of Hungary. In the decade and a half that passed until her death, Krisztina Nyáry is likely to have changed or given away many pieces of jewelry, but some pieces of her dowry can be recognized in her probate inventory. A part of the precious items inherited by her children entered the Esterházy treasury.
Szent István király bazilikájának utóélete. A Középkori Romkert 1938-tól napjainkig. Szerk. Gärtner Petra. Székesfehérvár, Szent István király Múzeum, 2015
In 1930 a Roman stone sarcophagus, which came from Székesfehérvár to the Hungarian National Museu... more In 1930 a Roman stone sarcophagus, which came from Székesfehérvár to the Hungarian National Museum in the 19th century, was identified with the sarcophagus of St. Stephen, King of Hungary. The identification was based on information that the stone monument was excavated in the middle of the destroyed provost church, where, according to legend, the king was buried. Modern research has already changed the dating of the sarcophagus, proving that the Roman sarcophagus was reworked on the occasion of the canonization of King Stephen, in 1083. So, it was not a coffin but a sarcophagus reliquary. The paper investigates the sources on archaeological site and argues with the help of previously disregarded documents that any information available to us about the date and place of its discovery relates to another Roman tombstone.
Count Tamás Erdődy (1558–1624), Ban of Slavonia and Croatia, one of the leading knights bannerets... more Count Tamás Erdődy (1558–1624), Ban of Slavonia and Croatia, one of the leading knights bannerets in the Kingdom of Hungary, pursued an illustrious political career: at different stages of his life he held several high offices of state, he was a successful participant in the fight against the Ottomans, he enjoyed the unconditional confidence of the Habsburg rulers, and he was nominated four times to the post of palatine, the highest position in the land, second only to the king. As a patron of the arts he was quick to recognise the potential power of visual devices. His support for the arts was closely connected to his political activities, and the works he commissioned, including the building work carried out on his estates, all played a part in his political ambitions and were linked to particular stages of his career. In his campaign to be elected palatine, he defined himself as Christ’s victorious warrior, a hero defending both his nation and the Christian faith. This was reflected in his chosen motto, “In Deo vici,” with its allusions to Constantine the Great; it was proven by the military title bestowed upon him, as a knight of the Order of the Precious Blood of our Saviour Jesus Christ of Mantua; and this image was reinforced by the heroic pictures of him, and by the posthumous portraits painted after them. Though it failed to achieve its political objective – for Erdődy never became palatine – the complex programme of patronage he followed, rare in the extreme in the Kingdom of Hungary in the early modern period, still dominates the way we regard this eminent nobleman.
A Pejacsevich család művészeti öröksége / Likovna baština obitelji Pejačević, 2016
The counts Erdődy inherited their estates in southern Transdanubia (in today's Vas county in Hung... more The counts Erdődy inherited their estates in southern Transdanubia (in today's Vas county in Hungary and in Burgenland in Austria) from Cardinal Tamás Bakócz of Erdőd (1442–1521), but this area did not play an essential role in their lives at that time. The family had strong ties to Slavonia and Styria, both economically and politically. The family's marriage strategy was closely linked to their property policy. Above all, they tried to establish relationships with Styrian (Puchhaim, Stubenberg) or Slavonian (Draskovich, Keglevich, Rátkay) families. The marriage of Mária Eleonóra Erdődy and Károly Pejacsevich (protagonists of the exhibition catalog) fits perfectly into this context. Mária Eleonóra's father, Lajos Erdődy, made this area a cultural center of the region. He familiarized himself with the teachings of Freemasonry at a young age and even founded his own Masonic lodge in Eberau.
(with a longer German abstract)
"Ez világ, mint egy kert..." Tanulmányok Galavics Géza tiszteletére, 2010
In 1930 the Hungarian National Museum acquired seven gilded silver cups with the name and coat of... more In 1930 the Hungarian National Museum acquired seven gilded silver cups with the name and coat of arms of Countess Anna Erdődy († 1635), decorated with scenes from Joseph’s story. In the study the series of originally eleven pieces is reconstructed and their provenance is presented on the basis of probate inventories, wills, etc. The silverware was made by Elias I Drentwett in Augsburg between 1631 and 1633. After Anna's death, her siblings divided the estate (including the cup series) into seven portions. The individual pieces were then inherited independently from one another by different family members for over 100 years. In the first half of the 18th century, nine cups owned by the same heir met. These nine silver vessels stayed together until the 20th century when they were auctioned and seven of them were acquired by the Hungarian National Museum.
Johann Peter Krafft. Maler eines neuen Österreich. Hg. von Agnes Husslein-Arco, Katharina Bechler... more Johann Peter Krafft. Maler eines neuen Österreich. Hg. von Agnes Husslein-Arco, Katharina Bechler und Rolf H. Johannsen. Belvedere Wien - Museen der Stadt Hanau, 2016 (review).
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(with a longer German abstract)
(with a longer German abstract)