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

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

DÄNEMARK

CATALOGUE DE

^EXPOSITION,COLLECTIVE ORGANISER PAR LA SOCIETE DANOISE DU LIVRE

INTERNATIONALE

DU LIVRE ET DES INDUSTRIES DU PAPIER

PARIS .

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4. Dänemark catalogue de I’Exposition collective organisée par la Société danoise du livre a I’Exposition internationale du livre et industries du papier, Paris, 1894, Design by Elans Tegner, Designmuseum Danmark, Bibliotek

spirals can be seen. The technique, using today’s terminology, can be categorized as the Turkish hatib ebru type of marbling.39 Here we should return to the debate referred to at the beginning of this study. In his letter of 23 September 1897, Anker Kyster indicated that a photo of one of his endpapers would appear in the January 1898 issue of Dekorative Kunst. This issue contained an article by Otto Julius Bierbaum that presented two similar marbled sheets: one was by Otto Eckmann and the other by Anker Kyster.

With the publication of the two sheets together, the article documents the afterlife of a controversy that had been resolved. The debate, which today can only be reconstructed based on articles in professional journals, unfolded around the figure responsible for the development of the new marbling technique—marbled paper with (floral) motifs—in Europe. Who should be considered the innovator—Anker Kyster or the German Otto Eckmann? In monographs on Eckmann, we find no references to the debate nor do we find any of his marbled papers—these works were overshadowed by his extensive artists’ endeavours.40 For the practicing bookbinder Kyster,

5. Thorvald Bindesboll (design) -Jacob Ludvig Flyge (execution): Bookbinding (leather inlay, gold-tooling), Museum of Applied Arts, inv. no. 8

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