Prékopa Ágnes (szerk.): Ars Decorativa 32. (Budapest, 2018)

Edit DARABOS: Blomstermarmor, klistermarmor. Modern Danish endpapers in the collection of the Museum of Applied Arts

3. Louis Comfort Tiffany: Ornamental glass plate.

In: Kunst und Kunsthandwerk, 1898,1. voi, No. 3. p. 109.

ours expanded. By mid-century, the unrestricted, so-called fantasy marbling and pseudo-ma.tb\ed papers (giving the impression of marbling) appeared. The spread of the marbling practice developed by József Halfer35 of Budapest resulted in a significant improvement in quality beginning in the 1870s. His method produced a novel range of sharply separated, richly structured colour patches and lines.36 At the turn of the century, oil paint and—as a dispersing agent—turpentine came into use alongside powder paint and ox gall-based watercolour mixtures used earlier. Use of a comb-like tool in marbling allowed for numerous pattern variations, including the peacock or flower bouquet patterns, which developed in the second half of the 19th century.37 During the 18th century, combed

marbling was one of the most popular European marbling techniques. (Fig. 2)

The line structure achieved in early Persian and Turkish sheets by using the so- called combed marbling method can also be observed on other pieces such as Ancient Greek and Near Eastern glass vases and painted alabaster objects. This pattern was revived by Louis Comfort Tiffany on his works of blown glass and became widely known in the last decade of the 19th century. Tiffany’s iridescent glasses were exhibited for the first time in The World Columbian Exposition in Chicago in 1893.38 (Fig. 3)

The Budapest and Copenhagen papers, however, show a marbling technique that had been hitherto unknown in Europe. Between the whirling lines of paint, simple motifs, flowers, flower stems, leaves, and

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