Eighty items of Hungarian silver were donated to the Medieval and European Sculpture and Decorative Arts Departments at the Metropolitan Museum of Art. Also donated were items that had been on long-term loan to the Met, including two 15th century Italian game boards and three medieval gaming pieces.

See: Barbara D. Boehm, “Chalice: Gift of The Salgo Trust for Education,” The Metropolitan Museum of Art Bulletin, Vol. 68, No. 2, 2010, 17.

See: Wolfram Koeppe, “The Salgo Collection of Hungarian Silver,” The Metropolitan Museum of Art Bulletin, Vol. 70, No. 2, 2012, 29.

Link: http://www.metmuseum.org/~/media/Files/Collections/Recent Acquisitions/ra_2008_2010.ashx

Seventy-five saddles, saddle rugs and horse covers. Following the successful 1997 exhibition “Kleider der Pferde, Saddle Rugs from the Collection of the Salgo Trust for Education,” with accompanying catalogue, the Museum requested that 35 works remain in their permanent exhibition galleries. These were some of the finest examples of saddle rugs and horse covers, colorful woven textiles from Central Asia, Mongolia and China. Given the Museum’s reputation and commitment to preserving the heritage of many cultures, Ambassador Salgo agreed to keep the collection there for further exhibition and study.

Sixty-five objects from Papua New Guinea were donated.

Etienne Béothy’s Couple IV (Opus 88) a bronze cast of a sculpture originally made in 1943, formerly one of the most important pieces in the collection of The Salgo Trust for Education is currently on display in the permanent collection galleries (the “Salon Style” installation curated by Director and CEO Dr. Stephen Borys and former Chief Curator Andrew Kear) at the Winnipeg Art Gallery in Canada. The sculpture was donated to the WAG in 2016, and has been a prized part of the collection since that time.

The Winnipeg Art Gallery continues to make excellent use of the French furniture and Hungarian sculpture donated to them by the Salgo Trust. On view since 2019 is “Salon Style,” curated by the WAG Director, Dr. Stephen Borys and former Chief Curator Andrew Kear. This “salon style” hanging is a brilliant solution to the loss of permanent exhibition space during the reconstruction of the original 1972 WAG building (designed by Canadian architect Gustavo da Roza) while the Qaumajuq (Inuit Art Centre) addition was being constructed (designed by American architect Michael Maltzan). On view in the “modern” gallery of this installation is Etienne Béothy’s “Lovers,” donated to the WAG by The Salgo Trust.

More recently, Dr. Stephen Borys curated “Simply Splendour: Porcelain, Silver, and Master Drawings at the WAG” (7.11.2020-13.06.2021) which includes(ed) three important pieces of French Empire-style furniture donated by The Trust.