Vadas József (szerk.): Ars Decorativa 12. (Budapest, 1992)

LOVAY Zsuzsanna: Jelzett XVIII. századi dél-német brokát-és bronzfirnisz-papírok az Iparművészeti Múzeum gyűjteményében

of gilt, coloured papers, in order to gain die privilege of manufacture and sale. Two engravers, enjoying the imperial privilege of distribution, Jeremias WOLFF and Joseph Friedrich LEOPOLD were the pioneers of brocade paper-making. From the 1690s, they were also issuers of such papers. The quality of brocaded papers reached its peak between 1700 and 1750.

2 Among the first producers of coloured and gilt papers wc must mention the NEUHOFER (or Neunhoffcr) brotiiers, Jeremias and Georg, who were also active in innovating textile printing; togetiier with their college, Hans Jakob ENDERLIN (or Endcrle), a printing block maker. Enderlin successfully improved his special bronze varnish printing, making it suitable both for fabric and paper,

3 on the textile machines imported by Neuhofer around 1690 from England and die Netherlands. The struggle for priority and monopoly was rather harsh between Neuhofer and Enderlin, resulting in a compromise: Enderlin continued to make bronze varnish papers in his independent workshop. On the paper fragments from 1690-1710, marked by his name, there are bell-flowers and serrated foliage, filling die coloured sheets. Enderlin's brother-in-law, die painter Madiias FRÖLICH, who gained privilege of making coloured "metal papers",

4 had a long-lasting law-suit with Abraham MIESER concerning priority and distributional right.

5 According to these law documents, the papers made by Neuhofer were already well-known around 1685-1688, whereas Enderlin, as stated by the paper-maker Stephan Hartmann, was producing his gilt papers only since 1689-1690. Nevertheless, the priority remains a question even today. Abraham MIESER (active 1690-1742)* gained a six-year-long imperial privilege already in 1698, for making gold and silverstamped papers. The special condition for this privilege was that the pattern had to fill the whole sheet. The law-suit between Mieser and Mathis FRÖLICH reached its end widi an imperial decree on 28 July, 1702, which acknowledged the priority of Fröhlich who "does not only make a simple metal paper but colours it or decorates it with animals, birds, figures or foliage" thus the right for printing and publishing was given to him. After the death of Frölich, his assistant, Christoph STOY (active 1703-1750) married his widow and took over Frölich's workshop. On 9 January, 1709 he managed to gain privilege for selling coloured "metal papers". It is evident from his pattern sheets that he sold almost all kinds of the more popular coloured papers: monochrome, marbled, glued, gold and silver as well as cotton-printed ones. His suppliers, workers and assistants were all masters of coloured paper making from Augsburg. In 1719 he started a law-suit for the privilege widi Stephan HARTMANN, who bought Neuhofens workshop and turned it into a textile printing manufacture. The imperial committee had already permitted the printing of gilt papers for four other paper-makers, which resulted in a harsh competition. The gilt and coloured papers were bom in die Baroque period, tiius floral motifspinks, tulips, pomegranates, daisies, chrysanthemums, roses, grapes and pears, acanthus leaves and foliage-created most of the decoration. Beside the above, human figures-hunting, gallant and chinoiserie scenes, cupids-also appeared, later enriched with characteristic elements of the rococo: rocaillcs, cartouches, asymmetrical frameworks, arabesques and bunches of ribbons. The decoration was modelled on printed textiles, embroideries, porcelain and other artistic pieces from the East. Among the customers for these eighteenth century coloured papers we find not