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

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

only bookbinders but joiners as well, who were covering caskets, cases, or even commodes, cabinets and wardrobes with marbled or gilt paper. In the Museum's collection, we may mention the wardrobe with two doors, made around 1700 in Soutii Germany or Austria, lined widi marbled paper probably from Augsburg (Inv.No. 5383) or the Austrian cabinet from the 1730s—1770s, lined with marbled paper (Inv.No. 62.1438) as characteristic examples of this trend. The collection of die Budapest Museum of Applied Ails contains almost 700 coloured papers; nearly 150 among diem arc brocaded or bronze varnished. There is also an impressive collection of nineteenth century cardboard sheets as well as marbled papers from the 18th and 19th centuries. Most of the brocaded and bronze varnished papers come from the Procopius-collection,

6 while the 19th and 20tii century marbled and cardboard sheets were earlier in die collection of the Libraiy of die School and Museum for Decorative Arts. The present study introduces only the brocaded and bronze varnished papers of the collection, presenting sheet fragments which were cut, soaked dien glued to cardboard sheets. In the descriptions wc tried to follow the chronology of die different workshops or publishing houses, thus we inserted some masters from Nuremberg or Fürth among the Augsburg ones. In die case of coloured papers, it is radier problematic to find die real maker. The signature on die papers always refers to die publisher, who was seldom identical with the maker of die plate. The producer of die copper plate has to be searched among engravers, cutters or silversmitiis. Aegidius Bichel, for example, is a known goldsmith working for the Joseph Friedrich LEOPOLD publishing house. There arc notes mentioning a certain J. Heckenauer; yet die engraver's name can hardly be identified for he could only use his initials if he could mark the work at all. Each publisher employed several paper-makers, contracting with printshops or selling die works of individual masters who had no right for distribution. This right was only given to engravers, who could easily expand their field of activity to making and distributing brocaded papers. In spite of the signature, the identification of the publisher is again rather difficult. Copper plates or wooden printing blocks could "wander" among various publishers through inheritance or due to the resale of a bequcst-they were than overstamped widi die signature of the new owner. Thus, each mark tells only the name of die latest owner. The earliest papers in the collection are excellent pieces by the publisher Joseph Friedrich LEOPOLD (active 1669-1727). 1. Dated bronze varnished paper. Gilt, alternating fields of floral ornaments and four-lobed figurai decoration with eastern figures, monsters and animals, over an orange background. Marked: CUM PRIVIL SAC CAES MAJ Anno 1722 IOS. FRID. LEOPOLD EXCUDIT (Inv.No. 59.1420, Pict.l)

7 2. Bronze varnished paper. Gilt chess pattern over a burgundy base, with rosettes and five pointed ornaments in the squares, alternating with gilt ones. Marked: 1723.IOS. FRID. LEOPOLD. EXCUD. AUG. V. (Inv.No. 59.1380). A similar motif can be found on the papers by Simon HAICHELE (Inv.No. 59.1331) and Wilhelm MEYER (Inv.No. 59.1441). 3. A whole sheet of a brocaded paper, widi clusters of grape, leaves and flowers over a stencilled base. Marked: 1724. IOS. FRID. LEOPOLD. EX-