Prékopa Ágnes (szerk.): Ars Decorativa 31. (Budapest, 2017)

Diána RADVÁNYI: Changes in the Critical Reception of Haban Ceramics: A Brief History of Research with a Discussion of Some Prominent Viewpoints

an peasant faience’). Another object still today considered an example of Transylvanian Haban was classified as ‘jug, Hungarian made Rouen-style majolica’.24 (Fig. 6) Haban works made in the Delft style— in which he saw a ‘Netherlandish influence’—were placed in the following categories:

1. ‘Delft faience from Szepes County’: an example of this was a hexagonal bottle with blue and white marble glaze and painted birds.25 (Fig. 7)

2. ‘from Zólyom County’ which ‘is a little bit farther from Delft-style works in terms of decoration’.26 (Fig. 8) To explain, he added: ‘these works were often found in Zólyom County and, as

6. Fluted body jug with pewter lid, dated 1655. Faience, Haban workshop, Transylvania, probably Alvinc (now Vinţu de Jos, Romania). Museum of Applied Arts, Budapest, inv. no.: 2840

Mr. József Lipcsey has informed me, they were probably made in Ligetbánya near Besztercebánya [now Banská Bystrica, Slovakia], They generally attribute faience pieces to the Habans, but I don’t agree because Haban works always show a Slavic influence, which is not discernible here.’27

7. Hexagonal jar. Faience, post-Hab an workshop, Hungary, mid-18th century. Museum of Applied Arts, Budapest, inv. no.: 2751

Later Hungarian researchers were far more cautious: they rarely attempted to link an object to a settlement. Occasionally, based on provenance, pieces collected in Transylvania at the end of the 19th century were typically presumed to have been made in Alvinc (Unterwinz, now Vinţu de Jos, Romania), or in some cases, the depiction serves as a point of reference, for example, when the supposed portrait of the Rákóczi

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