Palais Dorotheum /May 25, 2009
€3,500.00 - €4,000.00
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Variants on Artist's name :
Gyula Von (julius De) Benczur
Artworks in Arcadja45
Some works of Gyula Von BenczurExtracted between 45 works in the catalog of Arcadja
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Gyula von Benczur (Nyiregyhaza 1844–1920 Dolány) Amor with Wasps, signed, dated Benczur Gyula 1920, on the reverse old (probably 1930s) exhibition label of the Orszagos Magyar Szepmuveszeti Muzeum Budapest, oil on canvas, 38.5 x 29.5 cm, framed, (Rei) Catalogued and illustrated in: Uj. Idök, Budapest 1930. July 27 XXXVI Volume 31, no. 141. Recorded in: Homer Lajos, Benczur Gyula, Budapest 1938, p. 73.
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Gyula von Benczur (Nyiregyhaza 1844–1920) Amor with Wasps, signed and dated Benczur Gyula 1920, on the reverse old (probably 1930s) exhibition label of the Orszagos Magyar Szepmuveszeti Muzeum Budapest, oil on canvas, 38.5 x 29.5 cm, framed, (Rei) Catalogued and illustrated in: Uj. Idök, Budapest 1930. July 27 XXXVI Vol. 31, no. 141. Recorded in: Homer Lajos, Benczur Gyula, Budapest 1938, p. 73. Provenance: Formerly property of Géza Dános; formerly property of Marcell Danos.
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Gyula Benczúr (Nyiregyhaza 1844-1920 Dolany) - Crown Prince Otto, portrait at four years old, the heir to the throne in Hungarian coronation robes, oil on canvas, signed "Benczur", 136 x 90 cm, framed, (Lu) The portrait offered here was commissioned by Empress Zita and painted by the well-known Hungarian painter Gyula Benczur in 1917. It shows the Crown Prince in Hungarian coronation robes, which he wore on the occasion of the coronation celebrations in Budapest on 30.12.1916. In the historical paintings gallery of the Hungarian National Museum an almost identical portrait by Benczur can be found, which differs from this portrait only in small details. Enclosed is an appraisal by Prof. Dr. Nora Aradi 1992.
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Julius von Benczúr (Nyiregyhaza 1844-1916 Budapest) “Ekkehards Flight”, illustration for Joseph Victor von Scheffel‘s novel Ekkehard, 1875-1880, charcoal on paper, laid down on canvas, signed Benczúr Gyula on lower left edge, 85.5 x 118 cm, browning, foxing, framed, (Sch) This illustration by Benczúr, for Victor von Scheffel‘s historical novel Ekkehard (Frankfurt 1857), had been lost to date and known only from a photographic reproduction which appeared amongst the works of publisher Friedrich Bruckmann. Benczúr was one of Hungary’’’’s most important nineteenth century illustrators. His works, primarily illustrations for Friedrich von Schiller, were only published in Germany and were subsequently scattered over a variety of places during the war, with the result that today only a few of Benczúr’’’’s drawings remain. Only two original illustrations for Schiller’’’’s works (both, like Ekkehard’’’’s Flight, in charcoal on paper) are held in public collections. Accompanied by a written letter of authentication issued by Dr. Bellák Gábor of the Hungarian National Museum, Budapest.
Auction: Christie's -Jun 14, 2006 - LondonLot number: 177
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Gyula Benczúr (Hungarian, 1844-1920) Baptism of the Vajk signed 'Benczur Gyula' (lower left) oil on panel 33 7/8 x 19½ in. (86.1 x 49.5 cm.) Painted circa 1910. Special Notice VAT rate of 5% is payable on hammer price plus buyer'spremium. Provenance Dr. Ottó Atkáry, Budapest. Joszéf de Kochanovszky, Vevey, Switzerland. his daughter, Henriette Bois de Chesne (née de Kochanovszky),Basel. By descent to the present owner. Literature Exh. cat, Gyula Benczúr, Memorial Exhibition, Budapest,Múcsarnok, 1921, no. 225. Exhibited Budapest, Múcsarnok, Gyula Benczúr, Memorial Exhibition, 1921,no. 225. Lot Notes The present work is a smaller version of Gyula Benczúr'smonumental masterpiece, The Baptism of Vajk (National Gallery,Budapest). A student of the famous Munich painter, Karl von Piloty, Benzcúrwas among the most important European academic painters of his era.Best known for his history paintings, which are notable for theirdramatic power and harmonious colours, Benczúr returned to Germanyin 1875, staying there as a teacher at the Munich Academy until1883. The present work is notable for its powerful lighting and sumptuousmaterials, designed to invoke a sense of patriotic drama. Thegenesis of this subject was indeed born at a time of Hungariannational awakening. As Dr. Gábor Bellák writes: "In historical painting, the period which began around 1870 broughta spectacular change thanks to the government competition of 1869,which aimed at bringing about a new, representative painting thatreflect the changed political situation [the establishment of theAustro-Hungarian Dual Monarchy in 1867, or "Compromise", which gaveHungary its own constitution within the Austrian Empire]. Benczúrsubmitted a study entitled The Christening of Vajk (1870) made inthe style of Piloty. His study won, and he received a commission topaint a canvas. The christening of Vajk, the pagan name of King St.Stephen, the founder of the nation, was a decisive event in thehistory of Hungary. It was with this act that Hungary became partof Christian Europe. In the historical iconography of St. Stephen,the depiction of his christening first appeared in the beginning ofthe 19th century. The symbolic rebirth in Christ and the birth ofthe new Christian nation, depicted in this manner, is wellrepresented in painting; in fact, the figure of St. Stephen could,to some degree, be used to symbolise the Compromise of 1867. In1867 a new, constitutional state was born after centuries ofnational struggle, revolutions and freedom fights. In hislarge-size Vajk composition Benczúr created the apotheosis of thislatest rebirth, this time with a new hero...Benczúr studied historyin depth for the Vajk painting as well. We are familiar with thesketches he made of Medieval subjects, we know that he chose theinterior of the 10th century San Marco of Venice as the venue ofthe scene because of its "historical authenticity", and we alsoknow that was familiar with other depictions of the same theme inart, first and foremost a drawing by Johann Nepomuk Geiger, andTiepolo's altarpiece representing the christening of St.Constantine, which he chose as the artchetype for The Christeningof Vajk." (G. Bellák, Gyula Benczúr, 2001, pp. 22-23). In a letter to the present owner, Dr Bellák further writes of thispainting: "This is Gyula Benczúr's posterior version of his most importanthistory composition, The Baptism of Vajk, which has been in theNational Gallery since it was painted in 1875. The Baptism of Vajkwas so popular in the 1870s and 1880s that Benczúr had to make aninkdrawn version for steel-engraving multiplication in 1880. Thegraphic version was a little bit different from the painted one, inso far that it has an arched top with angels sitting on a cloud,holding the Hungarian Holy Crown in their hands. This graphicversion was reproduced in a variety of forms, from banknotes orpostmarks. The present painting is an oil version of the abovedrawing, which means that it must have been painted after 1880,although exactly when is not clear. I am willing to say that it wasmore likely made in the 1910s rather than in the 1880s. This painting is very important for us, for we did not haveinformation of that kind of self-repetiton in the case of thispainting. In a manuscript compiled around 1939 we have a referenceto a "reduced replica" of the Vajk-picture but it was thought to bea replica of the 1875 painting and not of the 1880 drawing. Thesame manuscript also mentions that in or around around 1939 thepicture was in the possession Dr. Ottó Atkáry. This is important toknow, because Dr. Atkáry already owned the picture in 1921 when itwas first (and last) exhibited in the large Benczúr memorialexhibition in Budapest. All the exhibited items were labelled; thenumber 225, affixed to the present work, was catalogued as TheBaptism of Vajk, owned by Ottó Atkáry. The catalogue did notmention it was a replica, but this must have been logical as allthe other Vajk versions had at that time long since been inmuseums. In conclusion: the picture is Gyula Benczúr's autograph oil paintedreplica of his 1880 ink drawing based upon his 1875 painting, TheBaptism of Vajk. The work was only once exhibited, at the 1921Benczúr Memorial Exhibition in the Budapest Múcsarnok. Around theyear 1939 it was still in Hungary, and this is the last known datein its provenance. The Benczúr research project has had informationabout one replica of the Vajk picture, but neither visual norliteral sources hinted at its exact appearance. I am delighted todiscover this excellent picture that I think to be painted in the1910s." We are grateful to Dr. Gábor Bellák for his assistance in writingthe above catalogue entry.