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

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

Lederobjekte. Wien, Österreichisches Museum für angewandte Kunst, 1992, p. 20, p. 25 (ill.)

54 Anker Kyster’s endpapers can be found in several European public collections. The Kunstbibliothek der Staatlichen Museen zu Berlin also has some sheets, acquired in 1898-1899. (http://www.smb- digital.de/eMuseumPlus ?service=ExternalInterface &module=collection&objectId=1836260&viewTyp e=detailView. Accessed on 17 October 2017.)

The dating and documentation of the sheets was carried out by Emil Hannover, who worked at the library from 1893-1906 and was the director from 1906 to 1923.

55 Paul Kersten designed the majority of the marbled papers for the Aschaffenburg factory. The standardized mixing of the colours and preparation of the material made it possible to produce similar marbled sheets in larger quantities. The Jugend pattern was named after the journal. It is presented as a pattern in Zeitschrift für Bücherfreunde 1900, booklets 5-6.

56 Designmuseum Danmark, bookbinding collection, inv. no. D 1090, published in: Meier-Graefe 1897, p. 37; Uzanne 1898, p. 228.

57 The Protestant Moravian community emigrated and settled in the Bavarian town of Herrnhut in the

early 18th century. They were involved in numerous crafts related to paper, including the making of distinctive paste papers that were distributed by merchants in numerous European cities.

58 Rohde 1982, p. 83. Christensen 2008, p. 214.

59 Gelfer-Jorgensen 2017, pp. 301-302.

60 Den Nordiske Industri-, Landbrugs- og Kunstudstilling i Kjobenhavn 1888, see Mirjam Gelfer-Jorgensen: Japanisme pâ Dansk. Kunst og Design 1870-2010, Kobenhavn, 2013, pp. 63-64. The direct influence of Japanese art on ‘northern’ artists can be traced to the presentation of Siegfried Bing’s Japanese collection at the 1888 exhibition Nordic Industry, Agriculture and Art staged in Copenhagen.

61 See Loubier 1903, p. 174. Among the article’s illustrations are several from the material displayed in the Viennese exhibition of bookbindings and endpapers (1903). The settings of the photograph of Kyster’s half-leather bindings are completely identical to those of the photos in Bruun’s article. See: Bruun In: Tidsskrift for Kunstindustrie 1898, booklet 4, p. 14

62 Kyster, Anker: Bogindbindingens teknik (1912). Kyster used Bindesboll’s machine printed papers for his book coverings. Kongelige Bibliotek, Copenhagen.

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