Ikvai Nándor szerk.: Tanulmányok Pest megye múzeumaiból (Studia Comitatensia 3. Szentendre, 1975)

Művészettörténet - Horváth Béla: Kisebb közlemények a zebegényi Szőnyi Múzeumból

W. Wittmann, 1938. Das Isisbuch des Apuleius. Forschungen zur Kirchen und Geistesgeschichte XI. 1938. Oroszlán Z. és Dobrovits A., 1939. Az egyiptomi gyűjtemény. Vezető. Bp., 1939. A. Hermann

—W. Schwan, 1940. Ägyptische Kleinkunst. Berlin. 1940. Hermann Kees, 1941. Der Götterglaube im alten Aegypten, Leipzig. 1941. H. Kees, 1941. Götterglaube in alten Ägypten. Mitteilungen der Vorderasiatischägyptischen Gesellschaft 45. 1941. Dobrovits A., 1943. Egyiptom és a hellenizmus. Parthenon—Franklin-Társulat. 1943. H. Bonnet, 1952. Reallexikon der ägyptischen Religiongeschichte. Berlin, 1952. S. Morenz, 1960. Ägyptische Religion. Stuttgart, 1960. A., Dobrovits 1972. Le Chacal dans la Barque. Bulletin du Musée Hongrois des Beaux-Arts. No 38. 1972. JEGYZET 1 Papír, tus, papirnagyság 47,6x31,7, fejnagyság 16x13,2 cm. Jelzés nélkül. Szőnyi-hagyaték 1644. 2 Az érem Borsos Miklós ajándékaként került Szőnyihez, s az ő hagyatékával a Szőnyi István Emlékmúzeumba. Leltári száma: 68.392.1. (Párdarabja Forgács Katalin gyűjteményében, Bp.) Béla Horváth: BRIEF COMMUNICATIONS FROM THE SZŐNYI MUSEUM OF ZEBEGÉNY 1. The statuette of Anubis in the Szőnyi Museum The statuette from an unknown site and dated to the Saitic age (7th

—5th centuries B. C.) served as an amulet. It represents Anubis in the same conception and structure as the piece in the exhibition of the Budapest Museum of Fine Arts. The statuette in the Szőnyi Museum is worn to a great degree and is incomplete as parts of its mouth and feet are broken off. The small hole for suspension is also damaged, from which it can be assumed that the amulet might have been torn off a mummy-cloth. The amulet is 5 centimetres high and 1,7 centimetres wide in the middle. It is made of terracotta of a loose composition and is covered with a light grass-green glaze. The body is exquisitely modelled which brings both the main parts and the minor details adequately into relief. The figure is combined with a small, pillar-like geometrical solid which supports it; it stands before this pillar in a stepping posture, with both arms pressed to the sides. The broken off hole for suspension is on the pillar-like solid, behind the upper arm of the statuette. The head of the figure is covered with a wig falling on to the shoulders, whereas below the waistline the god's characteristic small creased apron fastened under the navel is visible. 2. István Szőnyi's tint-drawing of Béla Bartók This study of cultural history interest has been preserved in the bequest of István Szőnyi. The tint-drawing is all the more valuable for us as from an early painting by Róbert Berény, through the still unpublished medal of Vilmos Fémes Beck up till the drawing and medal of Béni Ferenczy only a few artistic representations of the great musician are known. The painter's mother-in-law, Mrs. József Bartóky, was the moving spirit behind Szőnyi painting Bartók's portrait. She and Bartók's mother were good friends and they together paved the way for the painting to come about. In fact Bartók at first was unwilling to sit for his portrait and later agreed reluctantly only on the condition that he will sit in his mother's kitchen. There Szőnyi made the drawing of the head but the painting itself was never realized as the kitchen was unsuitable for doing it and Bartók repeatedly refused to sit for the portrait in the painter's studio. So the plan of taking the portrait fell through. 398