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

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

paste base, and Bindesbell drew the designs into the paste. Although Kyster used paste papers on his half-leather bindings,61 their authorship is not entirely clear. After Bindesbell’s death, Kyster continued to use his fellow artist’s endpapers.62 Because of the indirect nature of our references to Bindesboll’s role, identification of the creator of the paste papers in Budapest is at present uncertain.

The sheets in the third group of paste papers are without a doubt the works of Kyster based on the analogies in Copenhagen. While Bindesboll’s expressive sheets suggest a Japanese influence, for the works in this third group this connection is considerably more direct. A more thorough investigation reveals that Kyster used Japanese katagami stencils in painting many of

his paste papers. In his article of 1928, Kyster published a Japanese sheet painted with katagami. The same stencil was used for the Budapest and one of the Copenhagen sheets, although the colours are different. (Fig. 19)

In summary, the large number and varied themes of the modern Danish endpapers in the Budapest collection are unmatched, but this is not the only reason they represent important documentation of this art form, which was revitalized at the end of the 1890s. During this period, the art of making endpaper and several branches of the applied arts were deeply connected, offering mutual inspiration. These Danish artists shed light on this relationship; thus the publication of their works contributes substantially to the assessment of the art form.

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