Portrait 2

Anna Normann-Ehrenfels. Sketchbook

1871
Valpovo (Walpacher), Slavonia, in today’s north-eastern Croatia, paper, cardboard, pencil drawing, black chalk, tempera, 31 x 29 cm
Signed on all drawings with the artist’s first name: Anna

The sketchbook contains 52 sheets depicting flowers, fruits, studies of two female portraits and vedutas of her native Valpovo and the surroundings, all made in pencil. Three sheets have a precise date of the drawings origin – gezeichnet im Mai / Juny 1871 (made in May/June 1871).
The drawings were made by Countess Anna Csáky, neé Normann-Ehrenfels, before the marriage, probably as part of her education in her native town which she had left after the wedding with Count Vidor Csáky de Körösszégh et Adorján. She moved to Spišský Hrhov where the married couple had built a neo-baroque mansion.

Rudolf Csáky. Caricatures from 1835

Smokovec, the High Tatras, paper, pencil drawing, 22 x 28,7 cm
signed at the bottom right hand corner: RUD pinx Schmecks 835 / Von Conten Rudolph Csaky gezeichnet

Two caricatures depicting male figures which the artist must have been fairly familiar with. He recorded their typical stature and the way of walking, tailcoat clothing, with top hats in their hands or on their heads, walking sticks or umbrellas in their hands. Several similar caricatures have been preserved in the State archive in Prešov, the Spiš archive in Levoča and the Csáky fund in Spišský Hrhov.

Hedwig Friedländer. Portrait of Anna Csáky

1899
Spišský Hrhov, oil painting on canvas, 197 x 127 cm, in the original frame 210 x 135 cm
signed at the left hand bottom corner: Hedwig Friedlaender 1899

The paintress depicted Anna Csáky as an emancipated, self-confident woman, sitting in an armchair at a coffee table with an interesting still life behind, with a burning cigarette and an ashtray. Anna Csáky (1854 – 1927) came from an aristocratic family of Normann-Ehrenfels. On 12 October 1878 she married Count Vidor Csáky (1850 – 1932), a son of Augustine Csáky and Iphigenia, neé Prónay. They had chosen a new neo-baroque mansion in Spišský Hrhov as their residence. The married couple had themselves painted for the mansion family art gallery by the talented Viennese paintress Hedwig Friedländer (1863 – 1916), daughter of the painter Friedländer, a Knight of Malheim. According to the memory book, the paintress came to the mansion in Spišský Hrhov on 20 November 1899 and, in addition to a drawing of the mansion and her signature in the book, she made this non-conformist portrait of the Countess there.

Portrait

With artistic talent and aristocratic origin

A son of a former employee at the Csáky mansion house in Spišský Hrhov sold a sketchbook wrapped in a leather cover and designated with the exlibris of the Csáky mansion house library to the Antique bookshop in Levoča. He had found these objects when sorting out the heritage and had almost discarded them as useless things his mother had been preserving. It is quite likely that it was the drawings in the sketchbook that made him go and find out their price so that he could sell it in an antique shop. The owner of the shop knew that the SNM-Spiš Museum had been gathering objects related to the Spiš family of the Csákys for a long time and decided to offer it to them for acquisition.
The history of the Csáky de Körösszégh et Adorján family goes back to the 14th century and their agnomen, which they had obtained around the year 1396, is derived from the village Cheresig a Adrián in the Bihár County. The Csákys had settled in Spiš in 1638 when, folowing the extinction of the Thurzo family, Stephen Csáky (1603 – 1662) received from the Royal Chamber the Spiš Castle and its feud and, together with this, also the position of a hereditary Spiš governor. In 1702 the property had been divided and thus the basic family branches came to being, i.e., those of Hodkovce, Bijacovce, Kluknava and Iliašovce. The Kluknava and the Iliašovce branches had merged in the early 19th century and by the end of the 19th century their residence had been moved to Spišský Hrhov. In 1885 Count Vidor Csáky purchased Gustáv Görgey’s estate in Spišská Nová Ves, together with the mansion in Spišský Hrhov. Although he had the original Görgey mansion repaired in 1886 – 1888, the result did not satisfy his aspirations. Therefore, in 1893 – 1895 he had a new mansion built according to the project of the Viennese architect Heinrich Adam (1939 – 1905). The neo-baroque mansion was a unique example of the architecture and interior design of this neo-style in Slovakia. It was a successful synthesis of a baroque come back on the one hand and modern comfort on the other one. The Csáky family had lived there until 19 January 1945 when, as many other aristocratic families, they had to leave their residence due to the approaching front, however, hoping that they would be able to return after the war. The owner of the day, JUDr. Gustáv Csáky (1883 – 1964), son of Vidor and Anna, had indeed made an effort to come back in 1946 but the District Office in Levoča would not give its consent. The Levoča Museum had received around 318 historical objects, such as portraits, personal and every day use objects which are still an important part of its collections. Among them are two representational portraits of the married couple – Vidor and Anna Csáky – painted by the Viennese painter Hedwig Friedländer.

The museum purchased also the leather cover with the exlibris of the mansion library in Spišský Hrhov. There were several newspaper cuttings in it, among them also two older drawings – caricatures – which were made in 1835, on various occasions, by Count Rudolf Csáky (1811 – 1887), a member of the Hodkovce family branch. He was a son of Count Emmanuel Csáky (1763 – 1825) and Anna, neé Szirmay (1771 – 1838) who take the merit for the early classicist reconstruction of the mansion in Hodkovce. Rudolf, a landowner, was also a patron, as well as a collector, of art. He administered the family property which included also one of the first buildings in Starý Smokovec. He lived mainly in Košice but since 1881 he used to spend more time in Levoča. He was a member of the Hungarian parliament (House of Lords). He was also regularly supporting the Hungarian theatre in Košice and was a member of its steering committee. In addition to drawing, among his hobbies were German poetry and collection of antiques.

Women in Early 20th Century 2

Memory book from the year 1912

1912
Budapest, Hungarian, handwriting
material and technique: paper (book sheets), cardboard (cover), hardback, 64 p., height 17 cm, width 11 cm, depth 2 cm

The binding of the memory book is coated with red velvet. On the front page of the cover there is an Art Nouveau brass medaillion with the motif of a female face in profile, with long wavy hair. The covers are fastened by a hook clasp through the edge. The memory book contains handwritten inscriptions, painted and glued-on pictures, mostly motifs of flowers and angels.

Chemise

turn of the 19th and 20th centuries
Levoča
cotton cloth, buttons, cutting, sewing, perforated embroidery, length 25,5 cm, width at the bottom edge 37 cm, width at the upper edge 46,5 cm, length of the straps 14,5 cm

A short ladies’ chemise of rectangular shape, sleeveless, with two rather wide straps was used to cover the female bust. It was made of several pieces of material joined by sewing, front and back parts having tucks, sides are adjusted with sewed in wedges. On the left side there are five buttons. In the upper part the undershirt is decorated with identical geometrical motifs – squares made by perforated embroidery. Perforated lines decorate also the upper edge of the chemise and the straps.

Ladies’ chemise with straps

turn of the 19th and 20th centuries
Košice
batiste, cutting, sewing, fringing, sewn in lace, length 73 cm, width at the upper fringe 38 cm, width at the bottom fringe 68,5 cm

A long ladies’ chemise, sleeveless, with straps. It was made of several, separately cut pieces of fine transparent fabric, sewn in at the sides. The upper edge is decorated, along the whole circumference, with sewn in lace of acant motifs. Two straps are attached to the upper fringe.

Panties, white underwear

turn of the 19th and 20th centuries
Košice
batiste, cutting, sewing, lace, length 28 cm, width at the upper fringe 31 cm

Short panties are made of white batiste. At the waist there is a belt which can be buttoned up, with one button at each sides. Bottom edges are decorated with a white lace.

Mór Jókai: Szegény gazdagok. Első kötet.

1911
Budapest, Franklin-társulat, Hungarian, Latin script
paper (book sheets), cardboard (cover), print, hardback, 280 s., height 15 cm, width 11 cm, depth 2 cm

The first volume of the historical novel The Poor Plutocrats by the Hungarian writer Mór Jókai in a pocket edition. The main story of the novel deals with the fate of the beautiful Henrietta who was forced to marry the rich baron Hataszegi, although she was in love with the young Szilárd. The binding is coated with grey-green canvas with a golden impression in the shape of an acant ornament on the front cover and the back of the book.

Alfred Noyer (Armand Noyer). Picture postcard – At a blossom tree

the early 1930’s
Paris, Alfred Noyer
paper, coloured picture postcard, height 13,5 cm, width 8,5 cm
signed: (logo, series No., bottom right) A. NOYER 2502

Alfred Noyer (Armand Noyer). Picture postcard – Kiss in the mountains

the early 1930’s
Paris, Alfred Noyer
paper, coloured picture postcard, height 13,5 cm, width 8,5 cm
signed: (logo, series No., bottom right) A. NOYER 1894

Alfred Noyer (Armand Noyer). Picture postcard – Lovers in the mountains

the early 1930’s
Paris, Alfred Noyer
paper, coloured picture postcard, height 13,5 cm, width 8,5 cm
signed: (logo, series No., bottom right) A. NOYER 1894

Alfred Noyer (Armand Noyer). Picture postcard – Lovers at a road

the early 1930’s
Paris, Alfred Noyer
paper, coloured picture postcard, height 13,5 cm, width 8,5 cm
signed: (logo, series No., bottom right) A. NOYER 1883

Novitas: Picture postcard – Between heaven and earth

the 1920’s
Berlin, Novitas
paper, heliograph, height 13,6 cm, width 8,6 cm
signed: (logo on the reverse, series No., bottom left) N 981

Novitas. Picture postcard – United in love

the 1920’s
Berlin, Novitas
paper, heliograph, height 13,8 cm, width 8,8 cm
signed: (logo on the reverse, bottom left) N

Novitas. Picture postcard – Love song

the 1920’s
publishing venue: Berlin, publisher: Novitas
paper, heliograph, height 13,7 cm, width 8,8 cm
signed: (logo on the reverse, bottom left) N

Novitas. Picture postcard – Love serenade

the 1920’s
Berlin, Novitas
paper, heliograph, height 13,8 cm, width 8,8 cm
signed: (logo on the reverse, bottom left) N

Novitas. Picture postcard – Hast Du mich Lieb? (Do you love me?)

the 1920’s
Berlin, Novitas
paper, heliograph, height 14 cm, width 8,5 cm
signed: (logo on the reverse, series No., bottom left) N 976

Léon Bergeret. Picture postcard – In front of a cave

the early 1930’s
Paris, Léon Bergeret
paper, coloured picture postcard, height 13,5 cm, width 8,5 cm
signed: (logo, series No., bottom left) LB 462

Ross-Verlag. Picture postcard – Evelyn Brent and Clive Brock

the late 1920’s
Berlin, Ross-Verlag
paper, coloured picture postcard, height 9 cm, width 14 cm
signed: (logo, series No. bottom left) Ross-Verlag 5140/1

Photoalbum

the first quarter of the 20th century
paper (album sheets), pasteboard (cover), hardback, 16 pages, 128 photographs, height 34 cm, width 18 cm, depth 2 cm

Portrait size hardback photoalbum coated with grey-green canvas. Golden Art Nouveau impression in the form of geometrical framing fringes the front cover. There is a stylized acant ornament in all four corners and the inscription ALBUM in the lower part of the front cover. The sheets are made of a rather strong green paper with cuttings for the photographs. The album can take a collection of 108 picture postcards.

Hans Zatzka – W. R. B. & Co. Picture postcard – Ein Schwerenӧter (Womaniser)

the 1920’s
Vienna, W. R. B. & Co.
paper, heliograph, height 9 cm, width 14,3 cm
signed: (on the reverse the tile and series No., bottom left) Galerie Wiener Künstler Nr. 881

Emil Schneider – Albrecht & Meister AG. Picture postcard – Soldier courting a young lady

the 1920’s
Berlin, Albrecht & Meister AG
paper, heliograph, height 14 cm, width 9 cm
signed: (logo on the reverse, series No., bottom left) Amag Nr. 281

Emil Schneider – Albrecht & Meister AG. Picture postcard – Liebesrausch (Love enchantment)

the 1920’s
Berlin, Albrecht & Meister AG
paper, heliograph, height 9 cm, width 14 cm
paper, heliograph, height 9 cm, width 14 cm

Novitas. Picture postcard – Harmony

the 1920’s
Berlin, Novitas
paper, heliograph, height 14 cm, width 9 cm
signed: (logo on the reverse, bottom left) N

Novitas. Picture postcard – A false tune

the 1920’s
Berlin, Novitas
paper, heliograph, height 13,8 cm, width 9 cm
signed: (logo on the reverse, bottom left) N

Novitas. Picture postcard – Honeymoon weeks

the 1920’s
Berlin, Novitas
paper, heliograph, height 13,5 cm, width 8,8 cm
signed: (logo on the reverse, bottom left) N

Fotocelere. Picture postcard – Love

the late 1920’s
Paris, Fotocelere
paper, coloured picture postcard, height 13,5 cm, width 8,5 cm
signed: (logo, series No., bottom left) *Fotocelere 1324

Fotocelere. Picture postcard – We are in love

the late 1920’s
Paris, Fotocelere
paper, coloured picture postcard, height 13,5 cm, width 8,5 cm
signed: (logo, series No., bottom left) *Fotocelere 112/3

Alfred Noyer (Armand Noyer). Picture postcard – Young couple with a rose

the early 1930’s
Paris, Alfred Noyer
paper, coloured picture postcard, height 13,5 cm, width 8,5 cm
signed: (logo, series No., bottom left and logo on the reverse, centre bottom) A. NOYER 4449 / A. NOYER

Alfred Noyer (Armand Noyer): Picture postcard – I love you

the early 1930’s
Paris, Alfred Noyer
paper, coloured picture postcard, height 13,5 cm, width 8,5 cm
signed: (logo, series No., bottom left and logo on the reverse, centre bottom) A. NOYER 4449 / A.

Alfred Noyer (Armand Noyer). Picture postcard – Spring love

the early 1930’s
Paris, Alfred Noyer
paper, coloured picture postcard, height 13,5 cm, width 8,5 cm
signed: (logo, series No., bottom right) A. NOYER 2502

P-C. Picture postcard – Love and flowers

the early 1930’s
Paris, publisher: P-C
paper, coloured picture postcard, height 13,5 cm, width 8,5 cm
paper, coloured picture postcard, height 13,5 cm, width 8,5 cm

P-C: Picture postcard – Lovers with flowers

the early 1930’s
Paris, publisher: P-C
paper, coloured picture postcard, height 13,5 cm, width 8,5 cm
signed: (logo, series No., bottom right and logo on the reverse, centre bottom) P.C PARIS 2884 / P – C PARIS

Hans Makart – Stengel & Co. Picture postcard – Romeo and Juliet

the 1920’s
Dresden, Stengel & Co.
paper, heliograph, height 13,8 cm, width 8,8 cm
signed: (logo on the reverse, upper centre) Stengel

Friedrich Kaskeline – Wilhelm S. Schroeder Nachfolger. Picture postcard – Klänge von Herz zu Herz (Tunes from heart to heart)

the 1920’s
Berlin, Wilhelm S. Schroeder Nachfolger
paper, heliograph, height 14 cm, width 9 cm
signed: (logo on the reverse, series No., bottom left) W S + S B 6471

Luciano Dell’Anna – Giuseppe Gasparini. Picture postcard – Kiss

the 1920’s
Milan, Degami
paper, heliograph, height 14 cm, width 9 cm
signed: (logo on the reverse, series No., centre bottom) Proprieta artistica riservata Dell’Anna e Gasparini – Milano / 118 – 4

Luciano Dell’Anna – Giuseppe Gasparini. Picture postcard – Before the kiss

the 1920’s
Milan, Degami
paper, heliograph, height 14 cm, width 9 cm
signed: (logo on the reverse, series No., centre bottom) Proprieta artistica riservata Dell’Anna e Gasparini – Milano / 114 – 2

Mille Baisers (probably) – E. K. & Co. Picture postcard – Young couple at night

the late 1920’s
Paris, publisher: E. K. & Co.
paper, coloured picture postcard, height 13,5 cm, width 8,8 cm
signed: (logo, series No., bottom right) Azur PARIS 107

Wilhelm S. Schroeder Nachfolger. Picture postcard – Beautiful girl

the 1920’s
Berlin, Wilhelm S. Schroeder Nachfolger
paper, black and white picture postcard, height 13,3 cm, width 8,5 cm
signed: (logo, series No., bottom left) W S + S B 929/5

Alfred Noyer (Armand Noyer). Picture postcard – At a summer house 1

the early 1930’s
Paris, Alfred Noyer
paper, coloured picture postcard, height 13,5 cm, width 8,5 cm
signed: (logo, series No., bottom right) A. NOYER 1594

Alfred Noyer (Armand Noyer). Picture postcard – At a summer house 2

the early 1930’s
Paris, Alfred Noyer
paper, coloured picture postcard, height 13,5 cm, width 8,5 cm
signed: (logo, series No., bottom right) A. NOYER 1594

P-C. Picture postcard – Beauty and flower

the late 1920’s
Paris, publisher: P-C
paper, coloured picture postcard, height 13,5 cm, width 8,5 cm
signed: (logo, series No., bottom right) P-C PARIS 2589

Nicolas Lancret – Stengel & Co. Picture postcard – Die Tänzerin Mile Camargo (Dancer Mile Camargo)

the 1920’s
Dresden, Stengel & Co.
paper, heliograph, height 9 cm, width 14 cm
signed: (logo on the reverse, upper centre) Stengel

A selected collection of 34 presented picture postcards comes from a rather large set of 108 picture postcards printed, most frequently, in the 1920’s. Texts on the reverse are written in Hungarian, in blue ink or pencil. All postcards have a stamp with the portrait of T.G. Masaryk in the value of 50 hellers.