Old masters, 19th and 20th century paintings

Átírás

1 auction 183. Tuesday May 22, 2012 Wednesday May 23, 2012

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3 Old masters, 19th and 20th century paintings Dates of Sale: Tuesday May 22, 2012 at 5 pm lot Wednesday May 23, 2012 at 5 pm lot On View: May Open daily 10 am 6 pm 8 Balaton utca, Budapest H-1055 Telephone: (+36) , (+36) Fax: (+36) The catalogue is also available on our website For further information please contact us at nag@nagyhazi.hu Member of Hungarian Art Dealers Assocation

4 The paintings were assessed by: Vera Mayer painting appraiser Eszter Mecseki art historian József Nagy painting- and art object appraiser Csaba Nagyházi painting- and art object appraiser Mónika Pavlicsné Haász art object appraiser The auctioneer: Marietta Soóky Lot Nr. 54 can be viewed on the front page and lot Nr. 470 on the back. Published by Nagyházi Galéria and Aukciósház, Budapest, 2012 Printed

5 Árverési feltételek 1. A Nagyházi Galéria mint árverési ház az árverést az árvereztetők megbízásából mint kereskedelmi képviselő szervezi, rendezi és vezeti. Az árvereztetők által átadott tételek a katalógus sorrendjében kerülnek kikiáltásra úgy, hogy az árverésvezető a sorra kerülő tárgy katalógusszámát valamint kikiáltási árát élő szóval kihirdeti, amire a venni szándékozók tárcsa feltartásával teszik meg ajánlatukat. Árverezni kizárólag az aukció megkezdése előtt, ügyfélkártya, illetve név és lakcím szerint regisztrálva, licitáló tárcsával lehet. A vevők a tárcsa átvételével, mint ráutaló magatartással kifejezik, hogy az árverési feltételeket magukra nézve kötelezően fogadják el. 2. A tárgy tulajdonjogát az árvereztetőtől leütéssel az az árverési vevő szerzi meg, aki a legnagyobb árajánlatot teszi, kivéve, ha a katalógusban jelzett tárgy esetében az évi LXIV. tv.-ben biztosított elővásárlási jogát a hungarian állam érvényesíti. 3. Az Aukciósház mint kereskedelmi képviselő az árvereztető megbízó nevében és képviseletében, annak teljeskörű meghatalmazása alapján jár el, e meghatalmazás alapján jogosult az aukció során legmagasabb vételárat kínáló vevővel az adás-vételi szerződés megkötésére és a vételár átvételére. Az Aukciósház fentartja a jogot, hogy a katalógusban szereplő egyes tételek árverezését mellőzze. Licitlépcsők Emelkedés HUF alatt HUF HUF és HUF között HUF HUF és HUF között HUF HUF és HUF között HUF HUF és HUF között HUF HUF és HUF között HUF HUF és HUF között HUF stb. 4. A vevő a vételárat készpénzben vagy annak 20%-át foglalóként az árverésen azonnal tartozik kifizetni. Amennyiben a teljes vételár egy összegben az árverésen kifizetésre kerül, úgy a tárgy a helyszínen átvehető. A vételár kiegyenlítése történhet hitelkártyával (Visa, Master, Amex) is, ez esetben 3 % hitelkártya jutalékot számolunk fel. A kereskedelmi képviselő biztosítja annak lehetőségét, hogy az árverési vevő a foglalót meghaladó vételárrészt az árverés időpontjától számított 14 napon belül egyenlítse ki. A vételárba a foglaló összege - határidőben történő teljesítés esetén - beleszámít. Amenynyiben az árverési vevő a megadott határidőig az árvereztetőnél a teljes vételárat nem rendezi, úgy ez esetben a kereskedelmi képviselő (az Árverési ház) az árverési vevő ajánlatát érvénytelennek tekinti. Ebben az esetben a vevő által adott foglaló részére nem jár vissza. 5. A vevő a kereskedelmi képviselő részére közvetítői díjat tartozik fizetni HUF ( ) leütési árig 21%-ot, ezt meghaladó leütési ár esetén a HUF feletti összeg 18%-át. 6. A vevő a vételár kiegyenlítését követően köteles gondoskodni a megvett tárgy elszállításáról saját költségére és felelősségére. Ennek elmulasztása esetén a kereskedelmi képviselő nem felel a tárgy sérüléséért, és az árverést követő 15. naptól a vételárra számított havi 5% tárolási díjat számol fel. Amennyiben az árverési vevő az árverést követően felszólítás ellenére a megbízás tárgyát nem szállítja el, úgy ez esetben 6 hónap elteltével a kereskedelmi képviselő a tárgyat szabadon értékesíti a költségei levonását követően a fennmaradt összeget pedig a vevő javára letétként őrzi. 7. Tilos mindenféle összebeszélés vagy vállalkozás, amely arra irányul, hogy harmadik személyeket szerfelett magas vételár kínálatára rávegyen és így megkárosítson. 8. Az árverés előtti kiállításon és az árverésen minden tárgy megtekinthető. 9. A katalógusban szereplő leírások és illusztrációk kizárólag azonosításul szolgálnak, így a vevőknek saját maguknak kell az árverést megelőzően meggyőződniük az árverési tételek állapotáról és arról, hogy azok megfelelnek-e a katalógus leírásának. A leütés after kifogásnak, vagy felszólamlásnak nincs helye kivéve, ha a tárgy hamis bár a katalógusban eredetinek van feltüntetve. Ebben az esetben az árverési vevő írásban, a tárgy származásával, vagy eredetiségével kapcsolatban felmerülő első kételytől számított 3 hónapon belül, de legkésőbb az árverés napjától számított 5 éven belül felszólamlással élhet. Az Aukciósház vállalja, hogy az adás-vételi szerződés megkötésétől számított 5 éven belül a felszólamlótól az értékesített tárgyat a leütési ár, valamint az árverési közvetítői díj összegének ellenében visszaveszi, amennyiben arról független igazságügyi szakértő megállapítja, hogy nem eredeti. 10. A tárgyak szavatosság nélkül, minden hibájukkal és imperfectságukkal együtt abban az állapotban kerülnek eladásra, melyben az árverés idején vannak. 11. Az eladásra kerülő tárgyak kikiáltási ár alatt nem vásárolhatók meg. Az árverező által tett ajánlatért, a lefizetett árverési árért a kereskedelmi képviselő felelősséget nem vállal, és nem kötelezhető, hogy nevezett tételt ugyanezen az áron egy későbbi időpontban újra árverésre ajánlja vagy forgalomba hozza. 12. VÉTELI MEGBÍZÁS: Amennyiben a vevő személyesen nem kíván részt venni az árverésen, úgy az általa adott vételi megbízás alapján, helyette a kereskedelmi megbízott a megbízásnak megfelelően hivatalból árverezhet, illetve telefonon személyesen licitálhat. Telefonos vételi megbízást 300 euró, ill HUF alatt nem fogadunk el. Telefonos vételi megbízás esetén amennyiben a telefonos kapcsolat nem jön létre (a hívott fél bármilyen oknál fogva nem elérhető) a kikiáltási áron való vételi szándéknak tekintendő. Esetleg felmerülő kommunikációs problémákért felelősséget nem vállalunk. Vételi megbízásban meghatározott összeg 20%-a előlegképpen lefizetendő, amiről a megbízó fél átvételi elismervényt kap. Ha ugyanarra a tárgyra harmadik személy magasabb összegre ad megbízást vagy az árverés résztvevői magasabb ajánlatot tesznek, úgy a megbízó az árverés after az előleget a vételi megbízás elismervényének ellenében minden levonás nélkül visszakapja. Amennyiben a vételi megbízás sikeres, az előleg foglalónak tekintendő. 13. Az árverési katalógusban signature szereplő tárgyakat Hungarianországról kivinni nem lehet. A jelzésű tárgyak mindenkori tulajdonosait a múzeumok nyilvántartásba veszik, a tulajdonosváltozás kötelezően bejelentendő. 14. KIVITELI ENGEDÉLY: A kulturális javak külföldre viteléről a évi LXIV. törvény rendelkezik. A kulturális javak véglegesen csak a Kulturális Örökségvédelmi Hivatal engedélyével vihetők ki az országból. Az engedély nélkül, valamint a végleges kiviteli engedéllyel kivihető kulturális javak külföldre vitelével (engedélyeztetés, csomagolás, vámkezelés, szállítás) a Nagyházi Galériával együttműködő szakértő cég foglalkozik. FOR-ANT-EX, H-1071 Budapest, Városligeti fasor A részletekkel kapcsolatos előzetes információ és árajánlat a es telefonszámon vagy az info@forantex.hu címen kérhető. 15. Az árverés végén az el nem kelt tárgyak újraárverezését lehet kérni a kereskedelmi képviselőtől. A katalógusban jelzett euróárak kizárólag információs céllal szerepelnek. Az elszámolás alapja minden esetben a vételár kiegyenlítése napján érvényes valuta árfolyam. 16. SZÁLLÍTÁS: A tárgyak elszállítása vevő költségére és felelősségére történik. Nagyházi Galéria és Aukciósház, mint kereskedelmi képviselő Budapest, május 3

6 Conditions of sale 1. The auction is organized, handled and conducted by the auctioneer, Nagyházi Galéria Árverési Ház, acting as an agent on behalf of the vendor. The lots called up are in succession as in the catalogue. The auctioneer announces the catalogue number of the lot in question and buyers indicate their wish to bid by raising their paddle. Buyers may participate in the bidding only with a numbered bidding paddle. To receive a paddle buyers shall be registered with name and address, or client card preceding the auction. Being registered buyers acknowledge to accept the conditions of sale. 2. On the fall of the auctioneer s hammer, title to the offered lot will pass to the highest bidder acknowledged by the auctioneer. However, in case of lots marked as "protected items" () in the catalogue, Hungarian museums reserve the right to buy the item at the hammer price. (Law No. LXIV. of 2001.) 3. The buyer has to pay 20 % of the hammer price, as deposit, in cash immediately after the sale. In case the whole price is paid, the buyer can have the object after the sale. A possibility to pay the amount over the deposit within the space of 14 days is rendered by the agent. The deposit is part of the hammer price on condition that it is paid within 14 days. In case of non-payment within two weeks of the date of the sale, the agent Nagyházi Galéria Árverési Ház regards the buyer's bid as null and void in which case the buyer has no right to reclaim the deposit. Nagyházi Gallery reserves the right to reject the auctioning of certain lots listed in the catalogue. Bidding steps under HUF 1000 HUF between HUF 2000 HUF between HUF 5000 HUF between HUF HUF between HUF HUF between HUF HUF between HUF HUF 4. A buyer s premium shall be added to the hammer price and paid by buyers: 21% (including 5% artists royalty as enacted by Law No. LXXVI 1999.) of the hammer price up to and including HUF ( ) and 18% of the amount exceeding HUF (Law No. XXIX. 1996). 5. Immediately after sale the buyer assumes full risk and responsibility thereof for the lot including any loss or damage and for shipment. The auctioneer is not responsible for any damage occuring after the sale. If the buyer fails to ship the purchased item the auctioneer has the right to charge 5 % of the price as storage and handling price per month from the fifteenth day of the date of the auction. In case the buyer fails to removed the goods - in spite of being called upon to do so - after 6 months the agent has the right to sell the item and will preserve the amount for the buyer as deposit minus expenses. 6. No seller may bid nor may any third party bid on seller's behalf in order to reach an unreasonably high price thus inflicting a loss on any other party. 7. All lots are available for inspection prior to and during the sale. 8. Descriptions and illustrations in the catalogue are for identification only. Buyers should satisfy themselves prior to the sale as to the condition of each lot and should rely on their own judgement as to whether the lot accords with its description. The Auction House will not accept any complaints after the fall of the auctioneer s hammer ont he lot unless the item proves not to be genuine despite being marked so in the catalogue. In such case the buyer may contest the sale in writing within three months of his/her doubt to the provenance or the authenticity of the item, but no later than five years from the date of the auction. The Auction House undertakes to repurchase the item from the buyer for a price including the hammer price and the agency fee if an independent expert establishes that the item is not genuine. 9. All goods are sold with all faults and imperfections they have at the time of the sale without any warranty. 10. No object will be sold for an amount less than the estimate price in the catalogue. The auctioneer bears no responsibility for validity of the bids. The Auction House shall not be obliged to re-offer the lot for the hammer price at a future auction. 11. In our discretion, The Auction House will execute order bids or accept telephone bids as a convenience to clients who are not present at auctions in accordance with a purchase assignment. Telephone bids will not be accepted for items with starting prices below 300 ( HUF). If the connection cannot be established in case of telephone bids (i.e. the bidding person cannot be reached for any reason), it is consedered a bid for purchase placed on the starting price. We assume no liability for any difficutlies in telecommunication that may arise. Fifty per cent of the amount agreed upon in the order bid is to be paid prior to sale on which the buyer is to be given acknowledgement of receipt. In case a higher bid is l000 HUF for the same lot by a third party or is by buyers in the saleroom, the the advance will be paid back to the absentee bidder. If the order to buy is succesfully executed, 20% of the purchase price is to be considered as deposit from the advance. 12. No objects marked "" (protected) in the catalogue may be taken abroad. Owners of protected goods will be registered by museums which should be notified in the case of any change in ownership. 13. The exportation of cultural goods is governed by the Law No. LXIV of Cultural goods may be finally exported from the country only in the possession of a license issued by the National Office of Cultural Heritage. A special company in corporation with Nagyházi Gallery deals with the exportation of cultural goods to be exported without license or with a final exportation license (licensing, packaging, customs clearance, transportation). For further information, as well as expertise and quotation, please contact FOR-ANT-EX (H-1071 Budapest, Városligeti fasor )on the phone number or by their address: info@forantex.hu. 14. Credit Cards Visa, Master Card- subject to an additional 3% chargemay be accepted at the sale. 15. Unsold lots may be asked to be re-auctioned by the agent at the end of the sale. The Euro rate indicated in the catalogue is only for information. The basis of the account shall always be the exchange rate at the date of the payment of the purchase price. Nagyházi Galéria és Aukciósház as agent/auctioner Budapest, May

7 Fontos információk a vásárlók számára Írásbeli vételi megbízás Megbízás alapján is teljesítünk vásárlásokat. Szolgáltatásunk ingyenes. A tételt a többi licit függvényében a lehető legalacsonyabb áron biztosítjuk. Ugyanolyan összegű megbízás esetén a korábban beérkezőt részesítjük előnyben. Kérjük, mindig határozza meg a felső limitet, azt az összeget, amit, ha részt vesz az aukción, megadna a tárgyért. Enélkül vásárlási megbízásokat vagy korlátlan limiteket nem fogadunk el. Telefonmegbízásokat csak a megbízó kockázatára és írásbeli (levelével vagy fax bank garancia) megerősítés alapján fogadunk el. Faxszámunk vételi megbízás esetén: Nagyházi Galéria (36-1) A sikeres licit érdekében határozottan felhívjuk a figyelmét, hogy megbízását legkésőbb 24 órával az aukció előtt juttassa el. Licitálás tárcsával Az aukció megkönnyítése érdekében kérjük kedves vásárlóinkat, hogy tárcsával árverezzenek. A számozott tárcsák megkönnyítik az aukció vezetőjének, hogy az Ön licitjét azonosítani tudja. Abban az esetben, ha Ön a sikeres licitáló, kérjük, győződjön meg arról, hogy az aukció vezetője az Ön számával ütötte le a tételt. Bármilyen probléma esetén azonnal jelezzen az aukció vezetőjének. Az Ön kényelme érdekében lehetőség van regisztrálásra. Ez esetben az Önnél leütött tételeket tárcsaszámával gyűjtjük, melyet licitálása befejezése after egyben rendezhet. A katalógusban előforduló szakkifejezések hungarianázata 1. Az a festmény, amely a katalógusban a painter nevével szerepel, véleményünk szerint az illető painter műve. Pl. Steen Jan H. ( ). 2. Az a festmény, amely a katalógusban nak tulajdonított műként szerepel, véleményünk szerint feltehetőleg annak a painternek a műve. 3. Az a festmény, amely mellett a műhely jelzés áll, véleményünk szerint az illető művész műhelyében készült, akár személyes közreműködésével. 4. Az a festmény, amelyet köre signature láttunk el, véleményünk szerint egy, a painter hatása alatt dolgozó másik művész egykorú munkája. 5. Az a festmény, amelyet követője signature láttunk el, véleményünk szerint egy, a feltüntetett művész stílusában készült, de később működő művész munkája. 6. Az a festmény, amelyet iskola signature láttunk el, továbbá hely vagy régió és/vagy dátum megnevezéssel, véleményünk szerint abban az időben és helyen készült, pl. Naplesi iskola 17. század. 7. A jelzés véleményünk szerint azt jelenti, hogy a szerzőt nem lehet teljes biztonsággal azonosítani, vagy hogy a jelzés később került a képre, más kéztől származik. 8. A képek méretét cm-ben adjuk meg (magasság, szélesség). Fizetés módja A fizetés módja az árverési feltételek 4. és 5. pontja szerint készpénzzel történik. A kikiáltási árakat euroban a katalógus lezárásakor érvényes árfolyam alapján számítottuk ki. Az árverés idején ettől eltérő árfolyam lehetséges. Telefonon történő licit vagy írásbeli vételi megbízás esetén a vételárat a Nagyházi Galéria számlájára: forint átutalása esetén IBAN HU ; euró átutalása esetén IBAN HU ; GB Pound átutalása esetén IBAN HU (Hungarian Külkereskedelmi Bank Rt. Budapest, Váci u. 38.) küldeni szíveskedjék. A szállítás költségei a vevőt terhelik. 5

8 Important Information for Buyers Absentee Bids If instructed we will execute bids and advise intending purchasers. This service is free. Lots will always be bought as cheaply as is allowed by other bids. In the event of identical bids the earliest will take precedence. Always indicate a top limit the amount to which you would bid if you were attending the auction yourself. Buy of unlimited bids will not be accepted. Orders when placed by telephone are accepted only at the sender s risk and must be confirmed before the sale by letter or fax (with bank guarantee attached)fax no. for bids only: Nagyházi Galéria (36-1) To ensure a satisfactory service to bidders we strongly urge you to send bids so that they are received at least 24 hours before the sale. Paddle Bidding To assist the progress of the sale all intending buyers are asked to collect a bidding paddle before the commencement of selling. All intending purchasers should bring with them some personal identifications. The numbered paddle may be used to indicate your bid to the auctioneer during the sale. Should you be the successful buyer of any lot please ensure that your bid paddle can be seen by the auctioneer and that it is your number that is called out. Should there be any doubts as to price or buyer please draw the auctioneer s attention to it immediately. All lots sold will be invoiced to the name and address given on the issue of the numbered bid paddles and cannot be transfered to other names and addresses. Please do not mislay your paddle. In the event of loss please inform the sales clerk immediately as others could misuse your paddle. At the end of the sale please return the paddle to the registration desk. Storage Charges Items not collected within 14 days will be liable to storage transport and insurance charges. Methods of Payment Payment should preferably be made in cash immediately after the sale (see conditions of sale, point 3. and 4). The starting prices placed in the catalogue are given in euro based on rates of exchange i.e. the date for the dead-line of the catalogue. Please, note, that rates of exchange may be different on the date of sale. For telephone bidding and absentee bids only: payment in HUF to the bank account of Nagyházi Galéria IBAN HU (Hungarian Külkereskedelmi Bank Rt Budapest, Váci u. 38.); payment in EUR to the bank account of Nagyházi Galéria IBAN HU (Hungarian Külkereske-delmi Bank Rt Budapest, Váci u. 38.); payment in GB Pound to the bank account of Nagyházi Galéria IBAN HU (Hungarian Külkereske-delmi Bank Rt Budapest, Váci u. 38.). Please include lot number, your name, account number and invoice number with your instructions to the bank. (Payment has to be made immediately for absentee bids and telephone bidders.) Buyers are advised that property will not be released until payments have been cleared. Despatch will be at the buyers expense. Explanation of Cataloguing Terms 1. Pictures catalogued under the surname and Christian name of the painters are in our professional opinion works by the artists indicated, e.g. Steen, Jan ( ). 2. Pictures catalogued with the phrase tulajdonított (=attributed to) are in our learned opinion works made probably by the artist indicated. 3. Pictures catalogued with the phrase műhelye(= Studio of) are in our learned opinion works made in the studios of the artists indicated, executed possibly under their direction e.g. Studio of Steen, Jan H. 4. Pictures catalogued with the phrase köre (= Circle of) are in our learned opinion works made in the period of the indicated artists activity and under their influence. 5. Pictures catalogued with the phrase követője (= Follower of) are in our learned opinion works by an other artist working in the style of the indicated artists but at later dates. 6. Pictures catalogued with the phrase iskolája (= School) each accompanied by a placename and date are in our learned opinion works executed at the indicated time and location, e.g. Olasz 18. század, Italy. 18th century. 7. The term jelzés (= bears a signature ) means that the artist could either not be identified or that the artist s name has been added at a later date by another hand. 8. Dimensions are given in cms, height before width. 9. The prices in the catalogue are not estimated but first bidding prices as is the custom in Hungary. 6

9 INDEX A.O. monogram 99 Adorján Attila 479 Aichele, Paul 214 Albotto, Francesco 54 Angyalföldi Szabó Zoltán 474 Anto (Antoszkiewicz), Maria 481 Antwerpeni painter, circa Askendolf, Anders Monsen 109 Asszonyi Tamás 521 Bálint Endre 460, 464 Barabás Miklós 88, 96, 98, 129, 130 Barcsay Jenő 465 Bartl József 500 Baska József 472 Bassi, E. signature, end of the 19th century 117 after Batoni, Pompeo Girolamo, 19th century 53 Begeyn, Abraham Jaun 42 Belányi Viktor 333 Bencze signature 158 Benczúr Gyula 123 Benkhardt Ágost 350 Beregi S. signature, beginning of the 20th century 171 Berger signature, mid 19th century 90 Berkes Antal 168, 204, 306, 340 Bernáth Aurél 323 Beron Gyula 349 Birkás István 522 Circle of Bloemen, Jan Frans van, first half of the 18th century 45 Boemm Ritta, Fehér Kálmánné 409 Boldizsár István 311, 366, 383 Borúth Andor 142 Börtsök Samu 365 Bragnoli signature, beginning of the 20th century 339 Brescia painter, circa Bruck Lajos 155, 159, 202 Buhály József 484 Burchard Bélaváry István 138 Follower of Canaletto, Francesco Tironi 46 After Canova, Antonio, 19th century 218 Cassana, Giovanni Agostino 40 Cipriani, Adolfo 217 Clodion, Claude Michel 213 Cossiers, Jan 31 After Cuylenborch, Abraham van, 18th century 44 Czencz János 380 Czene Béla, the Younger 386 Czóbel Béla 397 Czumpf Imre 463 Csabai Kálmán 348 Csák Máté 495 Cserépy Árpád 156 Csernus Tibor 454, 457, 470 Dalí, Salvador 466, 469, 489 Dana, A.A.Gd signature 501 Dayka Antal 354 De Chirico, Giorgio 459 South-Italian painter, 18th century 47 Diener Dénes Rudolf 329 After Dolci, Carlo, beginning of the 19th century 64 Dudits Andor 377 Éder Gyula 131, 143 Edvi-Illés Aladár 165 Egry József 346 Northern Italian painter, 18th century 50 Northern Italian painter, circa Northern Italian painter, 18th century 41 Faragó signature, circa Faragó Márton 359 Fekete József 510, 517 Fekete M. signature, beginning of the 20th century 164 Feleki Fetter Frigyes 410 Fényes Adolf 327 Fenyő Andor Endre 362 Ferenczy Béni 511 Ferenczy Valér 301 Feszty Árpád 170 Fiume, Salvatore 520 French painter, circa French painter, beginning of the 20th century 390 French painter, first half of the 20th century 310 Frank Frigyes 385, 388, 399, 402 Friedländer, Alfred 174 Fürjesi Csaba 476 G. V. monogram 1 Gaády Käyser Lajos 512 Gádor Emil 419 Gádor István 509 Galla Endre 363 Garcin, Th. signature, end of the 19th century 106 After Gauermann, Friedrich, 19th century 107 Gauermann, Friedrich after, second half of the 19th century 108 Gautier, Jacques Louis 223 Gemito, Vincenzo 220 Giandi, Luciano signature Rubens after, 19th century 78 Glatz Oszkár 352 Gobell Smith signature, beginning of the 20th century 153 Greguss János 162 Gremsperger Ernő 139 Gruber Béla 316 Guérard, Bernhard von 84 Gulácsy Lajos 391 Gyarmathy Tihamér 447, 451 Györky József 456 Hagyik István 351 Hajnal Mihály 436 Hajós Imre László 496 Harpignies, Henry-Joseph 4 Háry Gyula 194, 195, 304 Hatvany Ferenc, Baron 317 Hegedűs László 321 Hegyi György 442 Hermann, Ludwig 100 Hikádi Erzsébet, Czene Béláné 395, 493 Hincz Gyula 426, 427 Holesch Dénes 404 Dutch painter, circa Hollósy Simon 179 Ibres Alters signature 92 Illencz Lipót 200 Ilosvai Varga István 400 ITALIAN Painter, 17th century 72 ITALIAN Painter, 18th century 51, 69 ITALIAN Painter, beginning of the 18th century 43, 65 ITALIAN Painter, first half of the 18th century 93 ITALIAN Painter, end of the 18th century 60 Italian sculptor, second half of the 19th century 216 Ivanácz Zsolt József 405 Workshop of Iványi-Grünwald Béla, circa Workshop of Iványi-Grünwald Béla, beginning of the 20th century 368 Jancsek Antal 312, 313 Járitz Józsa 413 Jobbágyi Gaiger Miklós 379 K. Spányi Béla 149 Kádár Béla 320 Kántor Lajos 475 Karlovszky Bertalan 392 Károlyi Ernő. 439 Károlyi Zsigmond 471 Karvaly Mór 154 Kássa Gábor 166 Kaufmann, Karl 111, 113 Kelety Gusztáv 182 Kemenszky Árpád 394 Kerényi Jenő 452, 461, 506, 507 Kéri László 438 Kern, Herman 91 Kézdi Kovács László 197 Kisfaludi Strobl Zsigmond 516 Kleinheincz Magdolna 434, 435 Klie Zoltán 408 Klimó István 360 Kokas Ignác 498 Kondor Béla 453 Konfár Gyula 384 Koppány Attila 432 Kosarek, Adolf 97 Koszkol Jenő 336 Kovács Ferenc 134 Kovács Margit 502, 503, 504 Körösfői-Kriesch Aladár 326 Közép-európai painter, 18th century 71 Kübler, Ludwig 196 Lakos Alfréd 146 Le Roy, Jules 118 7

10 Polish painter 341 Polish painter, 18th century 73 Polish painter, circa Ligeti Antal 105 Litteczky Endre 364 Lotz Károly 181 Löschinger Hugó 353 Lukáts Sámuel 87 Mácsai István 422 Madarász Viktor 124 Hungarian painter, circa Hungarian painter, mid 19th century 122 Hungarian painter, second half of the 19th century 161 Hungarian painter, end of the 19th century 126, 180 Hungarian painter, circa , 378 Hungarian painter, beginning of the 20th century 318 Hungarian painter, first half of the 20th century 307, 398 Hungarian sculptor, 18th century 12 Hungarian sculptor, first half of the 19th century 15 Hungarian sculptor, beginning of the 20th century 508 Hungarian painter, 17th century 56 Hungarian sculptor, 18th century 13 Mailer, F. signature, circa Mansbarth, L. signature 5 Margitay Tihamér 203 Marosán Gyula 403 Marton László 519 Martsa István 514 Martyn Ferenc 440, 491 Maury, Francois 133 Medgyessy-Kovács Gyula 499 Mednyánszky László baron 175, 176, 177, 178, 184, 185, 186, 187, 190 Mészöly Géza 115, 151 Mihalovits Miklós 309 Miro, Joan 468 Molnár C. Pál 370, 373, 374 Molnár Z. János 335 Móritz Sándor 331 Nádler Róbert 303, 308 Nagy Vilmos 206 Náray Aurél 337 Négely Rudolf 302 German painter, 18th century 58, 63, 70 German painter, circa German painter, first half of the 19th century 76 German painter, second half of the 19th century 57, 75, 128 German painter, beginning of the 20th century 338 German sculptor, first half of the 16th century 11 Dutch painter, 18th century 38 Neogrády Antal 192, 193, 198, 207, 208, 314, 315, 416 Neustück, Maximilian 37 West-Hungarian sculptor, 18th century 14 Olcsai Kiss Zoltán 513 Russian Gellért 423 Russian icon painter, circa , 29 Russian icon painter, first half of the 19th century 30 Russian icon painter, second half of the 19th century 17, 18, 19, 20, 23, 24 Russian icon painter, end of the 19th century 22, 26 Russian icon painter, circa , 25, 27 Russian icon painter, beginning of the 20th century 28 Austrian Painter, 18th century 62 Austrian Painter, beginning of the 18th century 7 Austrian Painter, second half of the 18th century 66 Austrian Painter, 19th century 48, 68, 147 Austrian Painter, first half of the 19th century 77, 83, 127 Austrian Painter, mid 19th century 74, 86, 89 Austrian Painter, second half of the 19th century 80, 119, 120, 144 Austrian Painter, circa Austrian sculptor, end of the 19th century 209 Austrian sculptor, circa Austrian vagy German painter, second half of the 19th century 81 Paini, A. signature, 163 Páll Lajos 418 Pándi Kiss János 505 Pap Domonkos 334 Papp Oszkár 448, 449 Pécsi Pilch Dezső 412 Pekáry István 414, 417 Perlmutter Izsák 172, 356 Picasso, Pablo 458 Plammer signature 152 Poll Hugó 357 Pólya Tibor 367, 369 Pongrácz (Popper) B. Szigfrid 219 Pray signature, second half of the 19th century 210 Prohászka István 160 Circle of Purgau, Franz Michael Siegmund von 61 Rác András 437 Ranftl, Mathias 116 Rechert, J. signature, circa Reissmann Károly Miksa 6 After Reni, Guido, end of the 19th century 95 Réti István 191 Réti Mátyás 401 Follower of Ribera, Jusepe de, 17th century 34 Ridovics László 407 Rilcoucourt, J. signature, beginning of the 20th century 415 Rippl-Rónai József 355, 358, 375 Roman painter, 18th century 52 Róna József 222 Rónai signature, beginning of the 20th century 211 Rottmann Mozart 135, 140, 173 Ruben, Franz Leo 167 Rubens, Pieter Paul and Anthonis van Dyck after, 19th century 55 After Rubens, Pieter Paul, end of the 18th century 35 Rubens, Pieter Paul after, beginning of the 19th century 59 Rudnay Gyula 347, 372 S.E. monogram 67 Sándor József 325 Scheiber Hugó 396 Schéner Mihály 420, 428, 431, 492, 497 Schmidt (Kremser Schmidt) Martin Johann 82 Schönberger Armand 424 Seifert, Victor Heinrich 221 Senyei Oláh István 322 Siegel, Anton 2, 3 Sikuta Gusztáv 480 Somogyi József 515 Steinacker, Alfred 114 Sugár Gyula 441 Szabó Antal 342 Szabó Gyula 387, 444, 446 Szánthó Mary 376, 381, 382 Szász Endre 490 Székely Andor, Dobai 305 Székely Bertalan 121, 189 Szenes Philipp 141 Szilády Margit 330 Szilvássy Pál 332 Szkicsák Klinovszky István 145 Szőnyi István 494 Sztelek Norbert 411 Szüle Péter 157 Tahi Antal 201 Telcs Ede 215 Telepy Károly 104 Tihanyi Lajos 393 Tornyai János 343, 345 Tóth Menyhért 443, 445 Trifonov, Georgi 467 Turcsán Miklós 433, 477 Uitz Béla 462 Ujházy Ferenc 150 Vadász signature 344 Vágh-Weimann Elemér 389 Vágó Sándor 183 Varga Vasil 406 Vasarely, Victor 482, 483, 485, 486, 487, 488 Vastagh György, the Elder 136, 328 Vaszary János 188, 455 Velencei painter, 18th century 49 Vén Emil 421 Vernet, Claude Joseph after, circa Vernier, Emile Louis 102 Véső Ágoston 429, 430, 450 Veszprémi Imre 518 Vigée-Lebrun, Elisabeth after 94 Vígh Bertalan 169 Vlaszov, Alekszej 478 Wagner signature 85 Wagner, Hans Johann 112 Zeller Mihály 361 Zemplényi Magda 473 Zemplényi Tivadar 137, 324 Zombory Lajos 371 8

11 Signed G. V. Diana and Calysto, 1799 brown ink, paper, mm, signed: G. V Starts with: HUF siegel, anton (1763 Vienna, 1846) Ágfalva from the direction of Bánfalva, 1840 water-colour, paper, mm, lower left: Agendorf Herbst 1840 XXVII Exhibited: Museum of Sopron, lot XXVII. Starts with: HUF siegel, anton (1763 Vienna, 1846) Saint Michael church in Sopron water-colour, paper, mm no signature found, lower left: LXX Starts with: HUF 310 9

12 Harpignies, Henry-JOSeph (Valenciennes, 1819-Saint- Privé, 1916) Landscape with hills I. and Landscape with hills II., 1883 water-colour, paper, mm; mm signed: Ingresso al Sacro Speco 30/10 83 painted on the artist's visit to Italy in 1883, these are 2 pages of the his sketch album of 26 pieces Starts with: HUF Mansbarth, L. signature Rocky landscape with mountain goats, 1856 indian ink wash, paper, mm, signed: L. Mansbarth 856, damaged Starts with: HUF ReiSSMAnn, Károly MiKSA (Neustadt, 1856-Bp., 1917) Landscape with shore and figures, 1878 Indian ink wash, paper, mm, signed: M. Reissmann, lower left: 1878 Starts with: HUF

13 7. 7. Austrian Painter, beginning of the 18th century Saint Ignatius of Loyola, Annunciation, Maria Immaculata painted glass, 25,5 19,5 cm, no signature found damaged, in original frames Starts with: HUF

14 WORK OF A MONAStery Kosztka Saint Stanislav Austria, 18th century, gouache, paper, polio, coloured glass, cm, in 18th century frames Starts with: HUF WORK OF A MONAStery Maria Immaculata Austria, end of the 18th century, gouache, paper, polio, 29,5 21 cm, in 18th century frames Starts with: HUF Relic-holder cross Oberammergau, 18th century, carved wood, m: 29 cm, decoration of Arma Cristi symbols on the back, in the stem of the cross inscripted polio-decorated relics Starts with: HUF

15 GerMAn sculptor, first half of the 16th century Saint John the Evangelist carved, painted, gilt wood, m: 103 cm, damaged Starts with: HUF

16 Hungarian sculptor, 18th century Angel carved, painted wood, m: 89 cm, damaged, imperfect Starts with: HUF Hungarian sculptor 18th century Angel carved, painted wood, m: 51 cm, damaged Starts with: HUF West-Hungarian sculptor, 18th century Saint Imre carved, painted wood, m: 96,5 cm, damaged Starts with: HUF Hungarian sculptor first half of the 19th century Saint Stephen carved, painted wood, m: 113 cm damaged, imperfect Starts with: HUF

17 RuSSian icon painter, circa 1900 Mother of God - Kazan oil, wood, cm, carved, in a gilt frame of vine forms (киот), coloured cloisonné with inlaid silver oklad, Hlebnyikov sign, 84 zlotnyik silver, glass candle holder Starts with: HUF

18 RuSSian icon painter, second half of the 19th century Virgin Mary of Kazan oil, wood, 31,5 25,5 cm, damaged Starts with: HUF RuSSian icon painter, second half of the 19th century Mary with Jesus oil, wood, 31,5 27 cm, damaged Starts with: HUF RuSSian icon painter, second half of the 19th century Preaching Christ oil, wood, 31,5 27 cm, damaged Starts with: HUF RuSSian icon painter, second half of the 19th century Saint John the Baptist oil, wood, cm, damaged Starts with: HUF

19 RuSSian icon painter, circa 1800 Luke the Evangelist oil, wood, 44 33,5 cm, damaged Starts with: HUF RuSSian icon painter, end of the 19th century Mary and Jesus with saints oil, wood, cm, damaged Starts with: HUF RuSSian icon painter, second half of the 19th century Depictions of Mary with Saint Dimitrij oil, wood, cm, damaged Starts with: HUF RuSSian icon painter, second half of the 19th century The death of Mary oil, wood, 31,5 27 cm Starts with: HUF

20 RuSSian icon painter, circa 1900 Jesus the Messiah oil, wood, cm in carved, gilt frame (kiot), no signature found Starts with: HUF RuSSian icon painter, end of the 19th century Mary of Tyihvin oil, wood, cm, damaged Starts with: HUF RuSSian icon painter, circa 1900 Orans Mary oil, wood, cm, with pressed copper oklad Starts with: HUF

21 RuSSian icon painter, beginning of the 20th century Saint Nicolas oil, wood, cm painted cloisonné with inlaid silver oklad Starts with: HUF RuSSian icon painter, circa 1800 Saint Nicolas oil, wood, cm, restored Starts with: HUF RuSSian icon painter, first half of the 19th century Mary with Jesus oil, wood, 43,5 36,5 cm, restored Starts with: HUF

22 Cossiers, Jan (Antwerp, 1600-Antwerp, 1671) The Apostle Paul Provenance: In the art market of Berlin, 1931 In the collection of Dr. Anneliese and Günter Henle (Duisburg) from 1962 In a Hungarian private collection from 1997 Exhibited: Wallraf-Richartz Museum Cologne, Exhibition of 1964 Schenker & Co.GMBH., Cologne, London, Sotheby s, 1997 This painting has been known to international research since According to Max Binder, it was an early work of Watteau. 30 years later, in 1961 this attribution was changed by Edouard Plietzsch, who assigned it to Jacob de Witt ( ). Witt mainly used Rubens reminiscence for his drawings. The style of Saint Paul compositions cannot be found in any of his oeuvres. Witt was primarily known for his grisaielles depicting pseudo reliefs. In 1964 at the Museum of Köln s exhibition The great century of Dutch paintings,it was once again attributed to Jacob de Witt by Horst Vey. The painting featured in the collection of Henle of Duisburg. 1 A Dutch art historian Fred G. Meijer was the first to suggest that the painter might have been Jan Cossiers from Antwerp. 2 The painting was auctioned in London in 1997 with the same attribution and as part of the Henle collection. 3 Jan Cossiers commenced his studies in his father and Cornelis de Vos ( ) workshop. In 1623, he left for Rome accompanied by Abraham de Vries, stopped in Aix-en-Provence however, where he started to work for an expiatory brotherhood called Penitens Noir and for his later patron, the great scholar of baroque European intellectual life, Nicola-Claude Fabri de Peiresc. He worked in Rome between 1624 and Portrait of Jan Cossier 1626 under the influence of Caravaggio s style. On his way home, he spent a great deal of time ( ) in Aix-en-Provence again. Thanks to his humanist patron, from 1628 on he became a member of the Saint Lukas painter s guild in Antwerp and also found his way into Rubens workshop. 4 He was Rubens assistant for Prince Ferdinand s triumph decoration and for the painting of the Torre della Parada series. In 1640 he was elected dean of the Saint Lukas guild in Antwerp. The themes of his known paintings were secular, principally genre compositions, at the same time he also undertook ecclesiastical orders for the churches of Brabant and Mechelen. Cossiers turned into one of the most outstanding masters illustrating religious themes relating to Counter-Reformation in Antwerp after With regard to the theme of the wooden panel of the Henle collection, once auctioneered at our gallery, this depicts Saint Paul, the 13th Apostle, who came from a well-accomplished Jewish family in Tarsus, spoke perfect Greek, and was a radically argumenting missionary, and here he is depicted as an old man by Cossiers. He holds a sword in his right hand, which is his attribute. The motion of the finely painted fingers, the stance of the hands and his emotional countenance turning to the side introduce a character contrary to his militant preacher background. The excellent quality of the painting reflects the mature style of the painter, that can be associated with assimiliated remote French caravaggesque naturalism, with the virtuosity of Rubens in form and colour, as well as the knowledge of the contemporary, great Dutch masters such as Rembrandt and Lievens, also can be seen. His style recalls the latter mentioned painters not because of the painting technique or the way the surface is treated, but because of the soul illustration. There are similar sacral compositions that are well-known in the world s outstanding museums (Ecce Homo, oil, wood, 73 x 54 cm, signed: JC, Paris Louvre, r.17.) and private collections (Saint Mark teh Evangelist, Heiloo, priv. Coll., RKD archive no ; Penitent Magdalen, o-v. 63,5 x 49 cm, Rieunier & Associés SARL, no.76.). Sadly though, a modern monography of Jan Cossiers oeuvre is still expected and the dissertation about his work,written over 2 years ago, still remains but in the form of a manuscript (J. Stoffels: Jan Cossier Een monografische benadering, Rijks-Univ. Gent 1986). Still his works remain an outstanding representation of the Flemish Catholic life. To the best of our knowledge this is the only piece of his oeuvre located in Hungary (Saint Mark teh Evangelist, Heiloo, priv. Coll., RKD archive no ; Penitent Magdalen, o-v. 63,5 x 49 cm, Rieunier & Associés SARL, no.76.). Sadly though, a modern monography of Jan Cossiers oeuvre is still expected and the dissertation about his work,written over 2 years ago, still remains but in the form of a manuscript (J. Stoffels: Jan Cossier Een monografische benadering, Rijks-Univ. Gent 1986). Still his works remain an outstanding representation of the Flemish Catholic life. To the best of our knowledge this is the only piece of his oeuvre located in Hungary Master mark of the panel manufacturer László Lengyel 1 Die Sammlung Henle : aus dem Grossen Jahrhundert a niederländischen Malerei, Wallraff-Rihartz Museum, Cologne no Fred G. Meijer, the associate of Hague-born Rijksbureau voor Kunsthistorische Dokumetatie and the member of the Dutch Editors Committee Oud. With several exact attributions, he widened our knowledge on the European painting. 3 London Sotheby s Lot Boyer, Jan: La Peinture et Gravure a Aix-en-Provence au XVIe, XVIIe et XVIII e siècles ( ) Gazette des Beaux-Arts, Paris Tome LXXVIII 113e Année, p

23 Cossiers, Jan (Antwerpen, 1600-Antwerpen, 1671) Saint Paul Apostle oil, wood, 64,5 48 cm, no signature found, in carved flemish frame of its time Starts with: HUF

24 Painter of Brescia, circa 1580 Unknown man, presented as Saint Hermenegild This work of art, typical of the Venetian and Northern Italian Renaissance clear oil technique painted on canvas, had so far been unknown in Hungarian literature. According to an assumption, it had already been in Hungary for quite some time, even if only temporarily, whereas it is also possible that after it was taken abroad, the piece of art was only returned in the first half of the 20th century to Hungary. These conclusions may be drawn from the illustration of the coronation and based on the information retrieved about the former owner of the painting. The painter is thought to have originated from Domenico Tintoretto s circle. There is a certain degree of similarity between some of the elements of this composition and of those revealed in Venetian Renaissance masters. This similarity is but what the Northern Italian stereotypes of the time made comprehensible, even compulsory. In comparison with the Venetians however, the style and further details of the piece of art are entirely different and are closer to works of the masters of Brescia, Moretto da Brescia, Gerolamo Romanino, Lattanzio Gambara and Paolo Lomazzo. While Moretto s influence can be seen on the main figure, Romano s can be viewed on the background as is typical of late Renaissance paintings, this also is eclectic and draws on more sources. Saint Hemenegild was canonized in 1585, so it seems feasible that the painting was made shortly after this date. However, the Great Saint Hermenegild was titled shortly after his death as a martyr. Philipp II and the tridentine council pronounced him as an early example, as he opposed against the Aranian Catholic religion. For this he was seen as one of the martyrs of the Catholic religion and became a symbol of the battle against Protestantism and from then on the name Hermenegild became very popular in the West and in the Latin colonies. The quality of the painting will emerge after the restoration of this painting, but still in today s form it is a very unique masterpiece. The crown in this painting is an attribution in place, as Hermenegild was a ruler as well. Close examination can reveal whether there are any other items of interest under the Hungarian crown or that it was painted there originally. Nonetheless, it is a fact that the depiction of the crown is a later addition to the painting itself. That is, it is based on an engraving that was made in 1613 for the work of Crown Guard Péter Révai, which was based on his own verbal communication, and so it contains many errors. This engraving was used for thirty years, despite there already being authentic depictions of the crown, for example on the Matthew II coin. The skew of the cross is again interesting, as it might also be a later correction. It is also unique that the painting comes from the collection of Zoltán Máriássy, the former commander of the Hungarian Crown Guard. He gave some of his collections to relatives, some were held in warehouses and some were kept in a safe of a bank during World War II. Besides the paintings from the 16th-18th century, he also owned Meissen porcelains, filigrees, magnificent items of furniture and a notable carpetcollection. Máriássy was an excellent collector, but his collection was confiscated by the Russians. His paintings were seen by the writer of this text. The transported pieces that can be documented were published in 1998 in my book Sacco di Budapest. László Mravik 22

25 MASter of Brescia, circa 1580 Uknown man, as Saint Hermengildo oil, canvas, cm, no signature found, upper right: latin label, damaged Starts with: HUF

26 DutcH Painter, circa 1700 Descent from the cross oil, canvas, cm, no signature found Starts with: HUF Ribera, jusepe FollOWer, 17th century Christ among the teachers oil, canvas, ,5 cm, no signature found Starts with: HUF

27 After Rubens, Pieter Paul, end of the 18th century Education of Mary of Medici oil, canvas, 46 34,5 cm, no signature found Starts with: HUF Northern Italian Painter, circa 1600 Moses rescued from the Nile oil, canvas, ,5 cm, no signature found on the back: label of Autcioneer hall, damaged Starts with: HUF

28 Neustück, Maximilian (Mayence, 1756-Bale, 1834) Saint Philipp baptises the eunuch, 1829 oil, canvas, cm signed: M. Neustück 1829 Starts with: HUF Dutch painter 18th century Worship of the pastors oil, canvas, cm, no signature found Starts with: HUF

29 Painter of Antwerpen, circa 1600 Resurrection of Christ oil, wood, cm, no signature found, damaged, in a gilt, carved frame from the 17th century Starts with: HUF

30 Cassana, GiOVAnni AgOStino (Abate Cassana) (circa 1665, Velence 1720 Genova) Cock, chicken, goose and turkey with a guinea pig, circa 1700 Giovanni Agostino Cassana is known for his Baroque animal and still life paintings. His Genovese father, Giovanni Francesco Cassana ( ), who was born and brought up in Venice, worked as a painter, studied in workshops of such great masters as Bernardo Strozzi (1632), and amongst his students was the outstanding Baroque painter Giovanni Battista Langhetti (1648). He was also the first of his sons masters. Niccolo Cassana ( ) was a successful portraitist both in the Florentine court and in London, he also painted with his brother, Giovanni Agostino (The cook, 1707 c. and the Portrait of Angela Biondi in a landscape, 1707 Firenze, Uffizi no. 7571Fi, no.5140). All four of Cassana s children became painters, Maria Vittoria (?-1711) painted small devotional paintings, Giovanni Battista Cassana ( ) painted flowers as well as still life paintings. 1 Giovanni Agostino, the eldest among his children, gained aknowledgement through his still life paintings and animal pictures. His art was influenced by his father and by those Flemish and Dutch painters, who by the second half of the 17th century, spread a depiction style, formerly developed in the low countries Cassana developed his special genre of combining live animal portrayal with that of still life paintings after the influence of Melchior de Hondecoeter ( ), the Dutch Jacob Victors ( ) and the Flemish Jan van de Kerckhoven (1637 ca ca.), in Italy known as Jacopo da Castello Cimiterio. His works cannot yet be dated specifically due to the current state of processing his oeuvre. His earliest work, dated to 1704, a still life in the kitchen with fish, was earlier to be found in London, but now is preserved in a Genovese collection. 2 In 1706, six paintings were delivered to Lucca for Stefano Conti, patron of the Venetian art and one of the most significant trader-collector of his time.. 3 After his Venetian and Florentine years, he returned to his hometown, Genoa in 1718, where he is seen as the most acknowledged painter of still life paintings after his predecessors Anton Maria Vassallo ( ) and G. B. Castiglione ( ). This very work of art has been known for a decade to Hungarian research. Based on the quality of the painting, it was then assigned to an Italian painter, circa 1700:Poultry-yard by Ildikó Ember, who also pronounce the painting protected. 4 The graphic techniques of the painting that is his fresh painting method emphasized by formal solutions to create naturalistic elements and a harmony of the colours using effects and light and shadow are Cassana s stylistic characteristics. The only unrealistic part in this painting is the presence of the guinea pig among the militant birds of a poultry-yard. It was typical of him to create similar odd combinations of animals in his works. The authenticity of this painting is confirmed by the fact that a variant of the composition can be found in a Genovese collection. 5 The arrangement of the animals, their movements, moreover the placement of the guinea pig are identical on both paintings. It is only the background elements that are diverse. The background of the version in Budapest is closed down by a board fence on the left, whereas the Genovese has a landscape with mountains on the right. Minor differences in the foreground can also be observed. Two marguerites appear in the Hungarian version, meanwhile there is a green, hardly definable plant with green leaves in the Genovese-version at the same spot on the paintings.. The main figure of the composition, the gaggling goose can also be found in another composition of Cassana (Pastor scene, oil, canvas 97 x 142 cm, Museo Civico Padova, no. 1248) 6. Typical for animal painters is that they developed certain types was the characteristic movements of the animals that later could be used in various compositions in various alignments. G. A. Cassana s genre paintings with live animals and still life paintings can be found in the world s greatest museums and collections, they are great representations of the Genovese Baroque painting in the art world. This painting is the only known work of art in Hungary. László Lengyel 1. picture 2. picture 3. picture 1. picture: G. A. Cassana: Poultry with guinea pig, oil, 90 x 123 cm (?) Genova, Private collection 2. picture: Portrait of Giovanni Agostino Cassana (1665 k k.) 3. picture: G. A. Cassana: Pastor scene, oil, canvas, 97 x 142 cm, Museo Civico Padova, inv.no James R.Hobbes: The Picture Collector s Manual adapted to the Professional man and Amateur. London, 1849, p La Pittura a Genova e in Liguria, secondo volume ed.: Ennio Poleggi, Genova, 1987, p.311, ill Stefano Conti s ( ) Venetian agent conducted purchases through the painter Alessandro Marchesini starting from He bought works by Canaletto, Luca Carlevaris and Gregorio Lazzarini, as well as G.A. Cassana. Fransis Haskell: Stefano Conti, Patron of Canaletto and others. The Burlington Magazine 1956, Vol.98. no pp Ildiko Ember stated: His style resembles mostly to the style of Giovanni Agostino Cassana. The Museum of Fine Arts, Budapest, Criticism Nr.: 2000/ La Pittura a Genova e in Liguria dal Seicento al primo Novecento, Genova 1971, p. 344, ill The painting s size is not correctly featured in the literature cm (sic!), the correct dimension could be cm. 6 La pittura del 600 a Genova, a cura di Pier o Pagano a Maria Clelia Galassi, Milano, 1988, ill