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

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

12-13. Anker Kyster: Marbled papers, Museum of Applied Arts Archive, inv. nos. 62.1656.1 and 62.1713.1 (detail)

Stolba, which rivalled each other in terms of their emblematic graphic elements. (Fig. 13) At the turn of the century, one of the most famous patterns of the coloured paper manufacturer Franz Dahlem & Co. Buntpapier-Fabrik of Aschaffenburg was a marbled paper created by Paul Kersten with the fantasy name Jugend,55 The Kyster sheet, which shows the leaves and flowers placed along the vertical axis, can be viewed as its prototype.

In summary, we can identify the creator of the marbled papers in Budapest as Anker Kyster. With respect to the debate discussed in this study, we can say that, after comparing the small number of Eckmann papers and the larger number of Kyster papers, it is not the identity of the innovator of this technique that is important. As an experienced paper marbler, Kyster produced far more sophisticated, technically perfect papers. Otto Eckmann’s works experimented with exciting shapes that—in contrast to Kyster’s sheets—were presumably not made primarily for use in book art. The marbled endpapers of the bindings presented at the 1896 exhibition Le livre modern are an example of the artistic use of fantasy marbling. The varying marbled patterns of the endpapers are divided into two fields by wavy lines.56

The paste papers purchased by Jenő Radisics

Paste paper is far simpler to make than marbled paper; the bookbinders themselves carried out the painting. A brush was used to apply the mixture of paste and pigments to the paper. This paste mixture was then

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