Szilágyi András (szerk.): Ars Decorativa 25. (Budapest, 2007)

Ildikó PANDÚR: The Role of Gyula Jungfer in Hungary's National Exhibition of 1885

Utasról [Technical Information on the National Millennial Exhibition of 1896]. Compiled by Aladár Edvi Illés. Budapest, 1898, G15-G39, 111. 30.

40 On the day the exhibition opened (2 May 1885), ‘when the King entered the Hall of Industry, János Koessler, a renowned professor at the Academy of Music, played the National Anthem on the organ and the artist-smith Gyula Jungfer presented a beautiful rose of wrought iron to Archduchess Stephanie, who accepted it with a few words of thanks.’ In: Radó, Richárd: Pest-budai emlékek a XIX. századból [Memories of Pest-Buda from the 19th Century]. Budapest, 1941, p. 177. I am grateful to László Fazakas for calling my attention to this datum.

41 ‘In connection with this bouquet, we should mention that it was Gyula Jungfer who started the making of flowers fashioned from wrought iron and put into bouquets. His first such work he displayed at the Paris Exhibition of 1878, subsequently showing them at the Székesfehérvár Exhibition. However, it was at the National Exhibition in Budapest in 1885 that he achieved the greatest impact with them. At this time, he took a few examples to Munich, where the ironsmiths liked these charming bijou items of his so much that they started making them in large number. Munich ironsmiths today like to embellish bijou artefacts with roses, and have succeeded in making them a product for the whole world.’ In: Edvi Illés, Aladár: ‘Előszó’ [Preface]. In: Mintalapok 1896. Fém- vasipar I. füzet [Design-Sheets 1896. Metalwork, Booklet 1].

42 MAA, inv. no. 56.1159.1

43 On the back of the photograph there is a handwritten list of inscriptions presumably referring to the items exhibited (stair- and walkway railing, grill for a gateway, cellar-window grill): ‘Wagner furstgit- ter, Wagner ganggitter, Schule Thiirfullungsgitter, Steindl Hauptstiegengitter, gr. Károlyi S [Count S. Károlyi]. Stiegengitter, Tándor Ganggitter, Eberwein gassen Kellerfenster 4 st.’ Identification of the different pieces is a task for subsequent research.

44 MAA, inv. no.: 2006.122. The work, whose fate has been mixed, was earlier under protection.

45 Pereházy, Károly: ‘Jungfer Gyula és Munkácsy Mihály az 1882. évi jelmezes művészbálon Budapesten’ [Gyula Jungfer and Mihály Munkácsy at the Fancy-Dress Artists’ Ball in Budapest in 1882], Művészettörténeti Értesítő XXXVI (1987), pp. 159-161.

46 The fountain stands today on Erzsébet tér. It was made in 1880-1883, to plans by Miklós Ybl.

47 The photo, which once hung in the director’s office, was protected under the number 27517/80. When the factory was closed the photo was lost. The reproduction shown here was made from a registry photo. (We were allowed to publish this photo by courtesy of the Hungarian Museum for Science and Technology.)

48 For a detailed account, see Vadas 1992. It

should be noted that the Prince of Wales and a subsequent German Emperor both visited the exhibition.

49 Balogh 1885, p. 108.

50 Havass 1885, p. 18.

51 Vadas 1992, p. 48.

52 Pereházy 1986, p. 33.

53 ‘10. Gyula Jungfer, Budapest. Smith’s work for the Royal Pavilion. Wrought chandeliers, candle- holders and fireplace fittings (exhibited in Group XI also). In: Mudrony 1885, No. 3043. ‘Exhibitors of architectural works in the Royal Pavilion. The participants: (1-22). Among them we find, e.g. Fülöp Haas (8), Ede Kratzmann (11), the Schlick Iron Foundry (16), Róbert Scholcz (17), Endre Thék (19), and Vilmos Zsolnay (21).’

54 Hegedűs - Edvi Illés 1886, p. 247.

55 For this change of style in the case of Ybl, see Vadas 1992; for the same in the case of Jungfer see Pereházy 1986, p. 33: ‘In Hungary, which was competing with Vienna in the 1880s, Neo-Baroque, which had already been accepted as the court style of the House of Habsburg, became established. Of course, this was warranted not simply by the pavilion built for the personal use of the king, since in many countries of Europe the change of style had already taken place.’

56 Szmrecsányi 1886. p. 448. See Az 1885. évi Budapesti Orsz. Ált. Kiáüítás Albuma [Album of the 1885 National Universal Exhibition in Budapest], N.p., n.d. (Library of the MAA, Rf 912).

57 Balogh 1885, pp. 114 and 130.

58 Szmrecsányi 1886. p. 455.

59 See Balogh 1883, pp. 35-36.

60 For the ornamented certificate, see Archive of the MAA, inv. no. OKLT 37. Lit.: Periods in European Decorative Arts. Revival Styles in the 19th Century. Budapest: MAA, 1992, cat. no. 605.

61 Hegedűs - Edvi Illés 1886, p. 245.

62 Lechner, Lajos: ‘Az építési ipar.(XXII. Csoport)’ [The Construction Industry (Group XXII)]. In: Keleti 1886, vol. 4, p. 66.

63 See ‘Jungfer Gyula műlakatos’ [Gyula Jungfer, Artist-Smith], In: A magyar ipar úttörői. Elet és jellemrajzok [Pioneers of Hungarian Industry. Biographical and Character Sketches]. Written by Mór Gelléri. Budapest, 1887, p. 85.

64 György Ráth - jewellery cabinet, 300 forints; Baron Béla Lipthay - chandelier, 900 forints; Bishop Schlauch - small iron table, 250 forints; György Vastagh - iron washstand, 240 forints. In: Vasárnapi Újság 1885.

65 ‘Jelentékeny vásárlásokat tett Jungfer igazán művészi tárgyaiból a walesi herceg is, jelesen: egy fug- gőlámpát (300 frt), két gyertyatartót azzal a gyönyörű vasmunkával, mely közfeltűnést keltett a kiállításon, 60 frt-ért, s még két kézi lámpát, darabját 14 forinton. De még büszkébbé teheti a hazai ipar minden

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