Szilágyi András (szerk.): Ars Decorativa 27. (Budapest, 2009)
Emese PÁSZTOR - Márta TÓTH - Anikó PATAKI - Andrea VÁRFALVI: Turkish Cases from the Esterházy Treasury
The front panel of the lengthwise curved bow-case and that of the smaller arrow-case (puzdra ) supplied with a wooden insert at the bottom for the storage of arrows is decorated with skófium embroidery: lace-edged palmettes on branching stalks supplied with rosettes and leaves. It was at one time attached to a belt around the waist of the user by means of cord, woven textile or leather strapping, which was threaded through leather loops on two upper protrusions on the back of the piece, as well as through a copper ring attached to the upper left-hand part of the front. This piece can be identified with one of two - almost identical - descriptions in the 1654 inventory of the Fraknó treasury. Cat. Budapest 1886, pp. 363-364, No. 1367 and No. 1369 - Baroque and Rococo. Periods in European Decorative Arts. Ed. Márta Péter-István Bardoly. Budapest, Iparművészeti Múzeum, 1990, p. 64, 2.2. Gerelyes 2005, p. 111, fig. 9. (Pásztor) THE RESTORATION OF THREE SEVENTEENTH-CENTURY TURKISH CASES FROM THE ESTERHÁZY TREASURY In the third part of the study, the process of the restoration of two bow-cases (I and II) and an arrow-case (III) from an ensemble of artefacts consisting of five OttomanTurkish bow-cases and arrow-cases is presented by the restorer artists who performed the work. Restoration of the Turkish cases in the Esterházy Treasury, which suffered serious damage in the Second World War, took place in the Museum of Applied Arts, Budapest between 1981 and 2003. In order of chronology, bow-case inv. no. 52.2882.1 (IV) was restored by Izabella Humor in 1981, 4 1 while arrow-case inv. no. 52.2864 (V) was restored by Katalin Soós and Anikó Pataki in 1988. Restoration of arrow-case inv. no. 52.2880 (III) was performed by Andrea Várfalvi in 1995. 4 2 The restoration of bow-case inv. no 52.2881 (II) belonging to it and of another case, inv. no. 52.2865 (I), suitable for the storing of arrows, took place in 2003, as work performed by the restorers Anikó Pataki and Márta Tóth. In what follows, descriptions of these last three cases (I, II, III) can be read. In some instances, there are divergences between the conservation methods used for the artefacts. The reason for this was, as well as differences in their rates of deterioration, the periods of time spent on them, during which new materials and methods were tried out. (Restoration of the two bow-cases - I, II - took place simultaneously and using a single method.) For the above reasons, the studies follow a logical order rather than a chronological one. Their aim is to show the various restoration methods for artefacts combining leather, textile and metal, and the different possibilities for the artefacts. 80
