Magyar Műemlékvédelem (Országos Műemléki Felügyelőség Kiadványai 14. Budapest, 2007)

MURÁDIN JENŐ: Egy műgyűjtő gyáriparos. Diamant Izsó (1886-1945)

23 Független Újság, 1940. VII. évf. 3. sz. 9. 24 DIAMANT Izsó: A rézkarcokról. Vasárnapi Újság, VI. évf. 2. sz. 1925. 11. 25 DIAMANT Izsó: Grigorescu. Ellenzék, 1934. december 25. (karácsonyi melléklet), 23. 26 DIAMANT Izsó: A százéves Grigorescu. Független Újság, 1938. V. évf. 22. sz. 11. 27 DIAMANT, I.: Essays. Cluj [Kolozsvár], B'Nai B'Rith Szemle kiadása, [é. n.] 28 Ismert kolozsvári személyek a budai zsídókórház áldozatai között. Erdély, 1945. május 25. 3. 29 E. SZABÓ 1974. (14. jegyzetben i. m.) 110. 30 K. Ferenczy Noémi és Ziffer Sándor együttes kiállításának katalógusa. Kolozsvár, 1926. (Az 1925-ös Ziffer-önarckép a festmények sorában a 47. tétel.) 31 Ziffer Sándor levele Incze Jánoshoz, Nagybánya, 1946. február. 18. Özv. Incze Jánosné tulajdonában. Első közlésben: MURÁDIN JENÓ: Ziffer Sándor: Ritka vallomások. Utunk, 25, 1970,1.6-7. A MANUFACTURER ART-COLLECTOR. IsiDORUS DlAMANT (1886-1945) BY EUGENE MURÁDIN Isidorus Diamant, the industrialist manager possessed the most significant artistic private collection exhibited in his family house designed by Josef Hoffman. The collection exists only virtually nowadays since the place of occurrence of its exhibits is hardly known. Eugene Diamant became the victim of the Nazi terror and his abandoned house was burglarized at the time of the front passing through Budapest in 1944-1945. Eugene Diamant was born in Vágújhely, in the county of Nyitra, and studied commerce and economics in Pozsony (Bratislava) and Budapest and gained his first practical experience in his father's small wire-and nail factory. In the meantime he started to show interest in arts and was encouraged in it by George Szántó originating from the same place and editing the 'Periszkóp', the famous avantgarde periodical. The duality of his personality unfolded after his service in the field in World War I when he removed to Kolozsvár (Cluj-Napoca). He launched the Wire Works of Aranyosgyéres, one of the biggest metal works in Eastern Europe on the authority of Romanian capitalist entrepreneurs. He regularly visited Western Europe to obtain the eguipment necessary for the Wire Works and to enrich his private collection at the same time. His collection consisted of mainly drawings of French and German Impressionists and Postimpressionalists (Manet, Renoir, Degas, Louis Corinth, Cézanne, Gauguin, Max Liebermann, Slevogt) and of especially unigue Japan exhibits and of a library containing rare publications. He became acguainted with Joseph Hoffmann, the world-famous master of Wiener Werkstatten in the 1920s through Joseph Divéky, a graphic artist, a pupil of Hoffmann. Diamant and Hoffmann had an agreement that Hoffmann would draft the plan of Diamant's villa in Kolozsvár and the office block of the Wire Works in Kolozsvár as well. These two buildings were completed in 1928-30 and they still stand in a comparatively good condition. They are also recorded by the literature on Hoffmann's works. Diamant lent works of art of his collection exhibited in his house in the residential guarter to several exhibitions for instance to the show of the 'Circle of Collectors' of Kolozsvár and to an Eastern artistic exhibition organized by Zoltán Felvinczi Takács in Kolozsvár in 1942. Diamant also tried himself at writing artistic essays. His treatise on Japanese woodcuts is cited by Erwin Tóth the acknowledged expert on the subject. This essay summarie Eugene Diamant's life, describes him especially as a collector and manager and introduces the buildings in Kolozsvár designed by Hoffmann. In addition it points to the circumstances of his death, how he and his family together with all the patients and staff were killed in a Jewish hospital in Maros street of Budapest by the Hungarian Nazis 14th January 1945 despite the fact that the hospital was placed under the protection of the International Red Cross.