Kaján Imre (szerk.): Zalai Múzeum 21. Emlékkötet Mindszenty József tiszteletére. Muzeológiai tanulmányok Zala megyéről (Zalaegerszeg, 2013)
Muzeológiai tanulmányok - Horváth Hilda: Faragó Ödön, a „zalai láma” iparművészeti gyűjteménye
Faragó Ödön, a „zalai láma” iparművészeti gyűjteménye 239 OROSZLÁN 1943 Oroszlán Zoltán: A Művészeti Múzeumok Barátai Egyesületének 15 esztendeje. Kny. Szépművészet 1943. év 10. sz. RÉGI ÓRÁK 1925 Régi órák kiállítása. Iparművészeti Múzeum, Budapest, 1925. SOMOGYI 2009 Somogyi Zsolt: A magyar szecesszió bútorművészete. Budapest, 2009. SPITZER 1890-92 La Collection Spitzer. Antiquité, moyen-áge, renaissance. I—VI. Paris, 1890-1892. SZŐNYEGKIÁLLÍTÁS 1924 Magyar Szőnyegkedvelők Egyesületének régi keleti szőnyegkiállítása az Orsz. Magyar Ipar- művészeti Múzeumban. (Szerk. Csányi Károly) Budapest, 1924. TAKÁCS 2010 Takács Gábor: Műgyűjtők Magyarországon a 18. század végétől a 21. század elejéig. Budapest, 2012. VÉCSEY 2010 Vécsey Axel: Régi mesterek a Bedő-gyűjte- ményben. In: Molnos Péter: Szenvedély és tudás. Bedő Rudolf műgyűjteménye. Budapest, 2010. ZSIDÓ MÚZEUM 1987 A Budapesti Zsidó Múzeum. (Szerk. Benoschofsky Ilona és Scheiber Sándor) Budapest, 1987. Applied arts collection of the „Zala County Lama”, Ödön Faragó Almost uniquely in the history of the Hungarian Art collection, the collection of Ödön Faragó’s (1869— 1935) was determined by the craftsmanship arising from his creative work, by his advanced knowledge of materials’ and techniques’ and by his qualification of art history. He was a prominent interior decoration and furniture designer of the Hungarian historicism and art nouveau. The work and activity of art collectors and designers were closely interlinked in his ouvre. He has created a comprehensive art collection with universal character, in which he was mainly influenced by two exemplars: one of them was his distant relative, Frederic Spitzer, who had a monumental collection consisting of mainly medieval and renascence art objects. Faragó took part in making the Spitzer- catalogue, during which he could take the pieces of the collection in his hand and admire them. The other exemplar was György Ráth, the first director of the Museum of Applied Arts, and similarly to his home furnishings, Faragó also furnished his home in eclectic style, with artistic and specific merit, abundant in art objects. Essentially, Faragó’s collection followed and imitated the large-scale, foreign „mammoth” collections of the period, though of course on a modest scale with less spectacular and attractive pieces, but almost following all types and groups of art objects. Therefore he had Hellenistic statues, a rich plastic collection - with pieces made of a wide variety of materials-, liturgical items, sculptures and carvings, Oriental rugs (including the so-called Transylvanians), old Hungarian, Transylvanian jewellery (from the former owner of Esterházy as well), lots of rings, various silver items, Asian bronzes, far Eastern (Chinese, Japanese) and European porcelain, faience, and even glass. All this represented the diversity of collecting antiques and the complexity of collecting works of applied arts. His collection was imbued with a special sort of archaic character; he collected strongly marked, often rustic pieces. This was also a major consideration for his publication about the history of furniture, in which home culture and the history of furniture were primarily explained through fixtures, on which the plasticity erupting from plane and strong sculptural decoration are dominant. The variety of corpus was particularly rich among the plastics, there were also ivory, wood-carvings and cast bronze among them. He had sculptural pieces until the 18th century, and besides the 16th century Italian bronze statuettes he also had German, French, Flemish and numerous Hispanic pieces. Mainly these latter ones were novelty, which Faragó had bought during his Spanish travels. He purchased primarily during his travels and directly from art-dealers, but sometimes from Hungarian art collectors as well. Faragó was a professional, who could provide support and information for the creation of other collections. He became an authority of his time, the collectors and traders often turned to him for advice. After his death, in 1935 his collection was auctioned. A few pieces of them were bought by the Museum of Applied Arts and by some major Hungarian collectors. Translated by Lívia Simmer
