Csornay Boldizsár - Dobos Zsuzsa - Varga Ágota - Zakariás János szerk.: A Szépművészeti Múzeum közleményei 100. (Budapest, 2004)
URBACH, ZSUZSA: Ein flämischer ikonographischer Bildtypus im italienischen Quattrocento. Bemerkungen zur Studie von Éva Eszláry
Baron around 1920 from the collection of Count Samu Teleki. The statues' earlier provenance is unknown. 4 Simon Meiler was the first to write about these bronze statuettes in 1932 in the journal Magyar Művészet (Hungarian Art). Contrary to similar bronze statuettes which were at the time traditionally considered to originate from the Netherlands, the author described the two hunting scenes of the Kohner Collection as the works of a seventeenth-century Italian master. 5 Two years later, in 1934, at the auction of the Kohner Collection in the Ernst Museum, they appear again as works of an unknown Italian master of the seventeenth century, with the annotation that previously they were thought to be the sculptures of Adriaen de Vries (1545-1626). 6 Upon their arrival to the Museum of Fine Arts in 1959, and in the exhibition guides, the statues soon appeared under Francesco Fanelli's name. 7 Jolán Balogh expounds her arguments for the Fanelli attribution in a study on the Old Sculpture Collection published in 1966. 8 The bronze statuettes appear with this ascription in the Catalogue of the Old Sculpture Collection of 1975, in the guide to a temporary exhibition introducing the museum's baroque statues in 1994, and even today, Francesco Fanelli's name is written under the statuettes displayed in the Baroque Hall. 9 It was not without reason that Jolán Balogh thought of Francesco Fanelli. If nothing else, the theme connects the Italian sculptor's hunting scenes to the Budapest statuettes. However, little is known about Francesco Fanelli, who by his own admission, was born in Florence. 10 He first appeared in Genoa in 1608, then shortly after 4 Balogh, op. cit. (n. 2), cat. 242, 243; K. Pogány, "Báró Kohner Adolf gyűjteménye (The Collection of Baron Adolf Kohner)," Az Ernst Múzeum aukciói (Auctions at the Ernst Museum) 48, Budapest 1934, cat. 282, 283. D About the Flemish attribution of the Italian small bronzes of the seventeenth century, see Radcliffe, op. cit. (n. 3), 16; A. Radcliffe and P. Thornton, "John Evelyn's Cabinet," Connaisseur 197 (1978), 257-58. About the bronze statuettes of Budapest, see S. Meiler, "Báró Kohner Adolf gyűjteménye (The Collection of Baron Adolf Kohner)," Magyar Művészet 8 (1932), 15, 18. 6 Pogány, op. cit. (n. 4), cat. 282, 283. 7 ). Balogh, Die Ständige Austeilung der Abteilung für Skulptur, Budapest 1966, cat. 33; Olasz renaissance és barokk kisbronzok (Italian Renaissance and Baroque Small Bronzes), eds. M. Aggházy and É. Eszláry, Budapest 1968, cat. 25, 26. 8 J. Balogh, "Studii sulla Collezione di sculture del Museo di Belle Arti di Budapest VI," Acta Históriáé Artium 22 (1966), 320. 9 K. Hámori, Collection of Baroque Sculptures: Guide, Budapest 1994, 6. 10 On Francesco Fanelli, see "Francesco Fanelli," in Allgemeines Lexikon der Bildenden Künstler, vol. 11, eds. U. Thieme and F. Becker, Leipzig 1915, 247-48; J. Pope-Henessy, "Some Bronze Statuettes by Francesco Fanelli," Burlington Magazine 90 (1953), 157-62; S. Stock, "Francesco Fanelli," in Allgemeines Künstler-Lexikon, vol. 36, ed. Saur Verlag, Munich and Leipzig 2003, 496-97. In connection with a cabinet in the Victoria and Albert Museum, see Radcliffe and Thornton, op. cit. (n. 5), 254-62.
