Szilágyi András (szerk.): Ars Decorativa 25. (Budapest, 2007)

Zsolt SOMOGYI: Pál Horti's Late Works in the United States of America

to new initiatives and also that the issue of the piano’s proportions preoccupied Horti.

Of the piano designs in question, one was for a ‘parlor grand piano’ and the other for an upright. They were published in 1907.41 Both designs were made in New York in 1905. A parlour grand piano was smaller than a concert grand and belonged in the sitting room. With its chunky, angular forms, the parlour grand would have fitted in well with the products of furniture factories of the period. Besides the bars characteristic of the Arts & Crafts movement in America that he placed between double legs, Horti used on the parlour grand inlay consisting of rich geometrical elements. The upright piano is likewise built on block-like forms, and its inlay embellishment, according to Horti’s notes, was developed from Native American motifs. The American trend of the Arts & Crafts movement - as in many countries of Europe - directed attention towards the ‘folk art’ of the United States. Therefore, in many branches of applied art (ceramics, textiles) embellishment motifs on articles of use of different Indian tribes made their appearance. The kind of sources used by Horti when designing the inlay is not yet known. That Horti’s designs really were made for the Baldwin Piano Company and that they were in fact executed is highly likely, but this supposition needs to be proved by further research.

On the basis of the above we can see that one hundred years after its close Horti’s oeuvre still contains many unresolved questions for researchers. Investigation of his last years, which were spent abroad, may contribute to the forming of more complete picture with regard to the work he performed in Hungary during one of the richest applied artist careers of the Secession period.

118