Prékopa Ágnes (szerk.): Ars Decorativa 32. (Budapest, 2018)
Edit DARABOS: Blomstermarmor, klistermarmor. Modern Danish endpapers in the collection of the Museum of Applied Arts
(hereafter Budapest 1898). On Radisics’s trip to northern Europe, the significance of the exhibition and its impact in Hungary, see Horváth 2006. 22 Budapest 1898, p. 18. 23 In: Katalog over den kollektive Bogudstilling i Stockholm. Ordnet af Forening for Boghaandvterk, p. IV. And: Petersen, Knud Arne: Dekorativ kunst paa Udstillingen i Stockholm. In: Tidsskrift for Industri, 1897, III. pp. 163-165. 24 The early papers were placed in the museum’s library and are thus found under the library inventory (1001-2000) no. 1375, with the following remark: ‘Anker Kyster hook cover lining. Original painting by hand, painted by Anker Kyster, 77 items, price 57 forints and 97 crowns’. The library’s stamp can be found on the sheets. 25 Their earlier Archives inventory number was: MLT 3710, Hungarian, no. 20. They were catalogued as endpapers. In 1962, they were re-catalogued in the main registry and were dated to around 1900. 26 An outcome of the exhibition was that two bindings were acquired by the Museum of Applied Arts. One was made by Jacob Ludwig Flyge and the other by Immanuel Petersen, and designed by Thorvald Bindesboll and Hans Tegner respectively. They both employed the leather inlay technique. Inv. nos. 6 and 8. Bookbinding of Tegner and Petersen was also exhibited in Paris, PARIS 1894, p. 5. http://collections.imm.hu/gyujtemeny/book/ 24401 ?ds=eyJhbiI6IjYifQ%3D%3D&i=0 27 Radisics, Jenő: A stockholmi kiállításról [On the exhibition in Stockholm]. In: Magyar Iparművészet, 1897, no. 3, pp. 91-10, ill. p. 97. Also dealing with this sheet: Horváth 2006, p. 375. 28 Czakó, Elemér: A könyvnyomtatás és könyvdíszítés iparművészete. Harmadik, befejező közlemény tíz szövegképpel [The applied art of book printing and decoration. The third and final report including ten illustrations]. In: Magyar Könyvszemle 1901, IV, p. 360 (ill.), p. 362. 29 Bierbaum, Otto Julius: Die kiinstlerlischen Vorsatzpapiere. In: Dekorative Kunst, 1898,1, pp. 111-129. Kyster’s marbled sheet with water lilies is similar but not identical to the one in Budapest. 30 Bruun, Vilhelm: Det er dog en dansk Opfindelse. Anker Kysters marmorerede Papir. In: Tidsskrift for Kunstindustri, 1898,4, pp. 14-18 (hereafter Bruun 1898), and Loubier, Jean: Der Bucheinband in alter and neuer Zeit, Berlin, Leipzig, no date (1903) (hereafter Loubier 1903). 31 At present, ninety-four sheets can be identified using the method described in this study. 32 Early summaries of the art form: Bötticher, Georg: Vorsatzpapiere. In: Kunstgewerbeblatt, 1899. Neue Folge, Zehnter Jahrgang, pp. 21-32; Kersten, Paul: Das Buntpapier und seine Verwendung. In: Zeitschrift für Bücherfreunde, 1900, 5-6, pp. 169-179. 33 The Album Amicorum is a manuscript type originating in the 16th century. It was a book in which the owner collected the handwritten quotes and poems, engravings and drawings by students, fellow scholars and friends. 34 For one of the most complete summaries of the technique: Wolfe, Richard J.: Marbled Paper. Its History, Techniques and Patterns. Philadelphia, 1991 (hereafter Wolfe 1991). 35 In 1876, József Halfer left the bookbinding firm he had founded with Nándor Gottermayer in Budapest and established a company that manufactured and distributed the necessary supplies, pigments and equipment for making marbled paper. Halfer greatly expanded the range of colours. Thanks to his added ingredients, sharply distinct patches of colour and lines could be produced, and with the use of carrageenan as a sizing agent, the process became much simpler. See Halfer, József: A könyvkötői márványozás [Marbling for bookbinders]. Budapest, 1886. 36 The following work was an important source for the practice of marbling at that time: Adam, Paul: Systematisches Lehr- und Handbuch der Buchbinderei und der damit zusammenhängenden Fächer in Theorie und Praxis. Dresden, 1884, p. 679. 78
