Szilágyi András (szerk.): Ars Decorativa 25. (Budapest, 2007)
Ildikó PANDÚR: The Role of Gyula Jungfer in Hungary's National Exhibition of 1885
Jungfer incurred higher rental charges since his presentation exceeded the 3 metres in height that was allowed free. Seeing the pleasant pavilion in which it was housed, we are inclined to believe the remark relating to artistic smith’s work that appears in the official report on the exhibition: we are pleased to acknowledge that the artistic smith’s work artefacts placed on display constituted one of the finest sights in the Hall of Industry...’30 The deadline for the announcement of artefacts intended for the exhibition was 31 December 1883. Announcements were accepted up until 1 May 1884, against payment of a rental fee for space that was 10 per cent higher. Announcements made after this date were considered by the National Exhibition Committee, which decided, on a case-by-case basis, whether or not to accept them.31 It is therefore likely that the majority of the pieces exhibited were already in their finished state in the first half of 1884. The exhibition catalogue lists the types of artefact featuring in the Jungfer presentation: ‘Chandeliers, hanging lamps, candle- holders, etc. Ironwork for furniture, doors and windows of various kinds. Wrought- iron flowers and leaves. Grates. Relief sculpture in copper of a male figure. Different Fig. 7 Hall of Industry. Interior decorative objects made from iron.’32 In the metalwork section of the exhibition guidelines we read, among the compulsory prescriptions, that ‘artistic smith’s work’ creations should be exhibited after being heated in oil to blacken them or after being polished to a shine’.33 The official report on the exhibition listed techniques used to shape works exhibited and to embellish their surfaces: forging and brazing of volutes and tress-work, hammered work (sometimes with openwork embellishment) and, as well as blacking with oil, full or partial polychrome coloration. In addition, there was polishing by means of filing (the most widespread technique).34 A number of the pieces seen on the photograph can be identified. On the back wall of the pavilion, in the middle and at the top, can be seen the gilded Jungfer company sign with its oval wrought-iron frame.35 Among the architectural elements that can be recognised on the two sides of the pavilion are the gate of the one-time Wahrmann Palace,36 the gate of the east chapel in St. Stephen’s Basilica in the Leopold Town district of Pest (this gate has hitherto been dated to 1905 in the specialist literature),37 and the gate surround (lit from the top) which not only appears on one ofjungfer’s design sheets,38 but also featured as executed work at the 1896 exhibition.39 ‘One of the ornaments of his presentation’ in 1896 was a bouquet of naturalistic flowers made out of wrought iron; this was a popular accessory at a number of presentations by him. Also, in a picture of his pavilion of 1885 there is a wrought-iron flower (rose) placed 40 in a light-coloured vase on a small table. According to opinion at the time, it was then that he achieved his greatest success, abroad also, with works of this type.41 A piece very similar to one of the hanging lamps42 is kept at the Museum of Applied 93
