list of illustrations

fig. 1 | györgy klösz, The Dining Room of Count Tasziló Festetics ’ s Mansion in Berzence, ca. 1900. Hungarian national Museum, Historical photo department, budapest, inv. no. 78.108

fig. 2 | károly Markó the elder, Diana and Callisto, 1850. oil on canvas, 143 × 200 cm, signed lower center: C. Marko p. Appeggi 1850. kovács gábor Art foundation, budapest

fig. 3 | károly Markó the elder, Diana Mourns the Slain Stag (Apollo and the Stag), 1831. oil on panel, 35 × 42 cm, signed lower left: C. Marko 1831. kovács gábor Art foundation, budapest

fig. 4 | Antal ligeti and sándor wágner, King Matthias Returning from the Hunt (Vajda-Hunyad Castle in the Age of King Matthias), 1872. oil on canvas, 152 × 223.5 cm, Museum of fine Arts –Hungarian national gallery, budapest, inv. no. 2767

fig. 5 | soma orlai petrich, series of Beautiful Helen illustrating the poem by Mihály Vörösmarty, ii (The Hideout), 1866. oil on canvas, 86 × 74 cm, signed lower left: orlay 866. Hungarian national bank, depositary program, on loan to the petőfi literary Museum, budapest

fig. 6 | soma orlai petrich, series of BeautifulHelen illustrating the poem by Mihály Vörösmarty, Viii (The Mourning), 1866. oil on canvas, 86 × 74 cm, signed lower left: orlay 866. Hungarian national bank, depository program, on loan to the petőfi literary Museum, budapest

fig. 7 | gusztáv keleti, The Death of Zrínyi, the Poet, 1860s. watercolour, india ink, and walnut stain on paper, 330 × 455 mm, Museum of fine Arts – Hungarian national gallery, budapest, inv. no. 1955-5336

fig. 8 | gusztáv keleti, Wild Boar Hunter, second half of the 19th century. watercolour and pencil on paper, 141 × 197 mm, Museum of fine Arts – Hungarian national gallery, budapest, inv. no. f95.53

fig. 9 | the artist’ s younger brother, Józsi szinyei Merse, posing for the painting Oculi, 1884. family archive photograph

fig. 10 | emil Adam, Noble Hunting Company in Agárd, 1882. oil on canvas, 160 × 285 cm, signed lower left: emil Adam. 1882. München. Hungarian national Museum, budapest, Historical gallery, inv. no. 53.1

fig. 11 | richard benno Adam, The Budapest Fox Pack Company, 1900. Matra Museum of the Hungarian natural History Museum

46 || Art And Hunting

fig. 12 | wilhelm richter, The Fox Hunt of the Esterházy Family, 1870. oil on canvas, 127 × 189 cm, signed lower right: wilh. richter 1870. Museum kuny domokos, tata, Art Collection, inv. no. 66.1.1.

fig. 13 | kornél spányik after Julius von blaas, Royal Fox Hunting in Gödöllő, after 1882. oil on canvas, 62 × 100 cm, signed lower left: Julius v. blaas u. másolta spányik kornél M. [Copied after Julius v. blaas by kornél M. spányik]. Hungarian national Museum, budapest, Historical gallery, inv. no. 1909

fig. 14 | wojciech kossak, Imperial Hunt in Gödöllő/The Start of the Hunt, 1887. oil on canvas, 111 × 194 cm, signed lower left: wojciech kossak / 1887. Collection of the national Museum in warsaw, inv. no. Mp 222 Mnw

fig. 15 | wilhelm richter, Royal Fox Hunting in Rákos, 1872. oil on canvas, 144 × 153 cm, signed lower left: “wilh. richter 1872 ” . Hungarian national Museum, budapest, Historical gallery, inv. no. 1897

fig. 16 | oszkár glatz, Disembarkation at Lake Velence, 1904. reproduced in Vasárnapi Ujság, 11 december 1904, 851.

fig. 17 | unknown photographer, The Hall of the Lamberg-Merán Mansion in Csákberény, ca. 1940. private collection, courtesy of balázs bányai and Ákos sánta

fig. 18 | ferenc lamberg, Roebuck in the Vértes Hills, 1898. private collection, courtesy of balázs bányai and Ákos sánta

fig. 19 | györgy klösz, The Library of Count Ferenc Nádasdy ’ s Mansion in Nádasdladány, with a charcoal drawing by Pausinger depicting a stag with twenty-branched antlers, ca. 1900. Hungarian national Museum, budapest, Historical photo department, inv. no. 78.186

fig. 20 | gusztáv keleti, Gödöllő, early 1890s. watercolour and white heightening on paper, 253 × 355 mm, signed lower right: kelety. Museum of fine Arts – Hungarian national gallery, budapest, inv. no. 1902-1034

Adrienn prÁgAi | tHe nAture of Hunting – tHe nAture of soCiAl representAtion || 47