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

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

6. Exhibition interior at L’Exposition du livre et papier industriei with the exhibits of Forening for Boghaandvterk. (The bookbinding by Thorvald Bindesboll and Jacob Ludvig Flyge is in the upper section of the showcase in the middle). In: Tidsskrift for kunstindustrie, 1895, I. vol.,p. 1, Designmuseum Danmark, Bibliotek

however, the technique was especially important, as evidenced by his exhibiting the marbled papers—'spéciments de marbrures’—separately at the 1894 Paris L’exposition du livre et papier.*' (Fig. 4) The books displayed there wound up in several public collections, including the Museum of Applied Arts, as two volumes purchased by Jenő Radisics from the material shown in the Budapest exhibition A modem művészet had initially appeared in Paris.42 (Fig. 5) Not only did the Danes receive the Paris exposition’s grand prize, but Kyster’s papers on their own garnered considerable success.43 (Fig. 6)

Kyster was not just a bookbinder but a professional writer who wrote about coloured papers. In an article published in 1928, he stated that 1892 was the year he began making blomstermarmor (floral marbled) papers.44 An 18th-century Turkish binding in the university library of Copenhagen—a photo of which was included in the article—drew his attention to this technique, which differed from the traditional method of marbling paper. All of the pro67