Panels of a winged altarpiece from Aranyosmarót
1450-1460
Pine, tempera
The Beheading of St. James; on the reverse: Death of the Virgin
Inv. 55.21
93 x 60 cm (painted surface), 102 x 69 cm (with frame)
Painted on both sides, the panel arrived in the Christian Museum, along with another showing the beheading of St. John the Baptist (55.20) originally from the same altarpiece, from the parish of Aranyosmarót. Its original place of usage is unknown. The images, previously considered the work of the first master of Aranyosmarót, have been attributed in the professional literature to a follower of the Master of the St. Barbara Altarpiece (Labuda, 1983) and a workshop in Lower Austria (Cséfalvay, 1993 – Gy. Török) based on their style. At present, nothing proves that the panel belonged to the medieval furnishings of the church of Aranyosmarót. It is possible that it came to the parish from the castle of Migazzi and Kristóf Migazzi had purchased the panel along with some other artworks in the environs of Vienna.
Provenance:
The panel was purchased along with its companion (55.20) and two other panel paintings (55.22/23) for 1000 gold crowns by Prince Primate János Csernoch (cf. the registry of the office of the archbishop) from the Roman Catholic parish of Aranyosmarót between 1913 and 1916. Before 1911, the four panels hung in the parish office of Aranyosmarót. They may very well have come from the private collection of Kristóf Migazzi.
Bibliography:
Divald Kornél: Magyarország csúcsíves kori szárnyasoltárai, II. Bp. 1911, 540, 44-45. – Divald Kornél: Bars és Hont vármegyei kutatások. In: Múzeumi és Könyvtári Értesítő 5 (1911), 162. – Gerevich-1916. 553. – Gerevich-1928, 212-213. – Genthon-1932, 48-49, 31-32. – Csánky Miklós: A szepesi és sárosi táblaképfestészet 1460-ig. Budapest 1938, 37. – Genthon-1932, 24-25. – Radocsay-1955b, 96, 257-258. – Mojzer-1958, 5. – Boskovits-Mojzer-Mucsi-1964, 126. – Mucsi-1975, 10. – Adam Labuda: Wrocławski ołtarz św. Barbary i jego twórcy: studium o malarstwie śląskim połowy XV wieku. Poznan 1984,185. – Cséfalvay-1993, 176 (Török Gyöngyi). – Pozsony-2003, 261, 704 (M. Bartlová)
Painted on both sides, the panel arrived in the Christian Museum, along with another showing the beheading of St. John the Baptist (55.20) originally from the same altarpiece, from the parish of Aranyosmarót. Its original place of usage is unknown. The images, previously considered the work of the first master of Aranyosmarót, have been attributed in the professional literature to a follower of the Master of the St. Barbara Altarpiece (Labuda, 1983) and a workshop in Lower Austria (Cséfalvay, 1993 – Gy. Török) based on their style. At present, nothing proves that the panel belonged to the medieval furnishings of the church of Aranyosmarót. It is possible that it came to the parish from the castle of Migazzi and Kristóf Migazzi had purchased the panel along with some other artworks in the environs of Vienna.
Provenance:
The panel was purchased along with its companion (55.20) and two other panel paintings (55.22/23) for 1000 gold crowns by Prince Primate János Csernoch (cf. the registry of the office of the archbishop) from the Roman Catholic parish of Aranyosmarót between 1913 and 1916. Before 1911, the four panels hung in the parish office of Aranyosmarót. They may very well have come from the private collection of Kristóf Migazzi.
Bibliography:
Divald Kornél: Magyarország csúcsíves kori szárnyasoltárai, II. Bp. 1911, 540, 44-45. – Divald Kornél: Bars és Hont vármegyei kutatások. In: Múzeumi és Könyvtári Értesítő 5 (1911), 162. – Gerevich-1916. 553. – Gerevich-1928, 212-213. – Genthon-1932, 48-49, 31-32. – Csánky Miklós: A szepesi és sárosi táblaképfestészet 1460-ig. Budapest 1938, 37. – Genthon-1932, 24-25. – Radocsay-1955b, 96, 257-258. – Mojzer-1958, 5. – Boskovits-Mojzer-Mucsi-1964, 126. – Mucsi-1975, 10. – Adam Labuda: Wrocławski ołtarz św. Barbary i jego twórcy: studium o malarstwie śląskim połowy XV wieku. Poznan 1984,185. – Cséfalvay-1993, 176 (Török Gyöngyi). – Pozsony-2003, 261, 704 (M. Bartlová)
