her flat glass boards from Belgium. She also dealt with interior decoration: she designed and produced furniture. She had great success not only with her figural panneau, but with her plaquettes, decorated with abstract animals. In 1937, the city of Paris bought her plaquette called The Hunting (La Chasse) and an engraved vase. These two pieces of art were later placed in the collection of modern art of the Louvre. She achieved her greatest success by working with cold glass, by monumental, sculptural drawing-derived forms, while her contemporaries, Lalique, Marinot and his circle made their art in glass-works and treated glass as one block. Her invention was a unique use of intaglio engraving, cutting, and the artistic use of the sand-blasting technique. She was able to create outstanding visual effect with their combination. French critiques used the expression "reliefs du verre" to describe her works. She visited home in 1938 to exhibit her work and received a Professional Silver Medal. That same year she was an invited exhibitor of the City of Paris. The following year she reached overwhelming success overseas. She returned from the 1939 New York World's Fair with a diploma of honor. Moving back to Hungary - 1940 Báthory remained in Paris until 1939, but moved to Budapest in January 1940 in order to save her studio. She worked continuously until 1944, when the operations of war reached the territory of Hungary. During this period she received a number of awards and accolades, including a gold medal at the Milano Trienale in 1940, awards from the Ministry of Culture in 1942 and 1943, an award from the city of Kassa in the Second Hungarian Exhibition of Applied Arts, a silver medal from the National Organisation of the Applied Artists of Hungary, and a gold medal from Budapest. Báthory worked abroad with interior designer Elek Falus during this period. She produced engraved and cut figural panneau that covered columns for the Zürich exhibition hall of the Goldberger Textil Company. Many of her pieces at this time were ecclesiastical. These pieces continued a religious theme she had used earlier when creating work in 1937 for the Exhibition of Religious Art (l'Exposition d'art religieux, 1935) in Strasbourg. She received great attention for one of her engraved triptichons. During World War II, Báthory's studio was almost completely destroyed. After the war ended she was frequently robbed, and a great number of