Fragment from a multi-figural scene; on the reverse: The Visitation. Detail from the movable wing of a winged altarpiece
1470-80
Wood, tempera
86 x 72 cm
Inv. 54.16
The scene depicting the visit of Mary to Elizabeth originally adorned the workday side of the movable wing of a winged altarpiece. Traces of a relief work can be found on the panel’s former feast-day side. A rare zoomorph pattern in good condition can be seen in the background. Considerable uncertainty about its provenance was expressed in earlier professional literature: suggested origins have included mining towns and Bohemia and Austria, while proposed dates of creation have ranged from the 1450s to the early 16th century.
Provenance:
Property of the Vécsey family before being stored in the attic of the Greek Catholic parish of Csegöld; from there, acquired by the Christian Museum during the tenure of Archbishop János Csernoch (cf. Terdik 2007).
Restoration:
Sebestyén Endrődy (?) between 1911 and 1916; István Lente carried out more extensive inpainting around 1970.
Bibliography
Lepold-Homor-1924, 96; – Gerevich-1928, 212. – Péter András: A magyar művészet története. I. Bp. 1930, 118. – Genthon-1932, 47. – Gerevich Tibor: A magyar művészet szelleme. Mi a magyar? edit.: Szekfű Gy. Bp. 1939, 443. – Genthon-1948. 24. – Radocsay-1955a, 12. – Radocsay-1955, 49-50, 62, 284. 486. – Stange-1961, XI, 56. – Boskovits-Mojzer-Mucsi-1964, 124. – Leonie von Wilckens: Ein Kaselkreuz in Rokycany. Hinweise zur böhmischen Marienverehrung unter Karl IV. und den erster Prager Erzbischöfen. Anzeiger des Germanischen Nationalmuseums 1965. 33-51. – Urbach Zsuzsa: “Dominus possedit me...” Beitrag zur Ikonographie des Josephszweifels. AHA Tomus XX Bp 1974. 243, 257. – Mucsi-1975 ,10. – Urner-Astholz, H.: Die beiden ungeborenen Kinder auf Darstellungen der Visitatio. Zeitschrift für Schweizerische Archaologie und Kunstgeschichte 38 (1981), 29-58. – Lechner, G. M. : Maria Gravida. Zum Schwnagerschaftsmotiv in der bildenden Kunst. Münchener Kunsthistorische Abhandlungen IX.. Braunfels, W. ; Lieb, N. (eds) München-Zürich, 1981, 362. – Cséfalvay-1993, 180-181. – Penny Howell Jolly: Rogier van der Weyden’s “Pregnant” Magdalene. Studies in Iconography 28, 2007, 209-280, 217, 218, 7 kép. – Terdik Szilveszter: Csegöld középkori temploma és a csegöldi táblaképek. Szabolcs-Szatmár-Beregi Szemle 2007/2, 177-192.
Provenance:
Property of the Vécsey family before being stored in the attic of the Greek Catholic parish of Csegöld; from there, acquired by the Christian Museum during the tenure of Archbishop János Csernoch (cf. Terdik 2007).
Restoration:
Sebestyén Endrődy (?) between 1911 and 1916; István Lente carried out more extensive inpainting around 1970.
Bibliography
Lepold-Homor-1924, 96; – Gerevich-1928, 212. – Péter András: A magyar művészet története. I. Bp. 1930, 118. – Genthon-1932, 47. – Gerevich Tibor: A magyar művészet szelleme. Mi a magyar? edit.: Szekfű Gy. Bp. 1939, 443. – Genthon-1948. 24. – Radocsay-1955a, 12. – Radocsay-1955, 49-50, 62, 284. 486. – Stange-1961, XI, 56. – Boskovits-Mojzer-Mucsi-1964, 124. – Leonie von Wilckens: Ein Kaselkreuz in Rokycany. Hinweise zur böhmischen Marienverehrung unter Karl IV. und den erster Prager Erzbischöfen. Anzeiger des Germanischen Nationalmuseums 1965. 33-51. – Urbach Zsuzsa: “Dominus possedit me...” Beitrag zur Ikonographie des Josephszweifels. AHA Tomus XX Bp 1974. 243, 257. – Mucsi-1975 ,10. – Urner-Astholz, H.: Die beiden ungeborenen Kinder auf Darstellungen der Visitatio. Zeitschrift für Schweizerische Archaologie und Kunstgeschichte 38 (1981), 29-58. – Lechner, G. M. : Maria Gravida. Zum Schwnagerschaftsmotiv in der bildenden Kunst. Münchener Kunsthistorische Abhandlungen IX.. Braunfels, W. ; Lieb, N. (eds) München-Zürich, 1981, 362. – Cséfalvay-1993, 180-181. – Penny Howell Jolly: Rogier van der Weyden’s “Pregnant” Magdalene. Studies in Iconography 28, 2007, 209-280, 217, 218, 7 kép. – Terdik Szilveszter: Csegöld középkori temploma és a csegöldi táblaképek. Szabolcs-Szatmár-Beregi Szemle 2007/2, 177-192.
