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

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

37 Wolfe 1991, pp. 147-149.

38 Christensen, Charlotte: 1900—The Year of Art Nouveau. The Danish Museum of Art & design and the Paris World Exhibition, Kobenhavn, 2008,

p. 178. (hereafter Christensen 2008).

39 In Turkish, ebru means marbling, while hatip marbling entails placing similar motifs equidistant from one another on the marbled surface.

40 Some early Eckmann sheets can be seen here: http://www.smb-digital.de/ eMuseumPlus ?service=direct/l / ResultLightboxView/result.tl .collection_ lightbox.$TspTitleImageLink.link&sp=10&sp=Scol lection&sp=SfieldValue&sp=0&sp=0&sp=3&sp=Sli ghtbox_3x4&sp=0&sp=Sdetail&sp=0&sp=F&sp=T &sp=8. Accessed on 17 October 2017.

41 In: Dänemark catalogue de I’Exposition collective organisée par la Société danoise du livre a

TExposition internationale du livre et industries du papier. Paris, 1894, p. X. (hereafter Paris 1894).

42 Paris 1894, p. VIII. The binding by Hans Tegner and Immanuel Petersen (MAA inv. no. 6) was certainly from among these (published with a photo: Tidsskrift for Kunstindustrie, 1895,1, p. 5) in the Paris catalogue (p. VIII. cat. no. 9). In all likelihood, the Bindesboll - J. L. Flyge binding (MAA inv. no. 8) also purchased from the material exhibited in A modern művészet [Modern Art], was displayed at the Paris Exhibition of 1894 (Paris 1894, p. VII, cat. no. 2). The Bindesboll binding can be seen, although not clearly, in a photo of the exhibition that appeared in the above-mentioned issue of Tidsskrift for Kunstindustrie.

43 Rohde, H. P.: Anker Kyster. Bogbinder og bogkunstner 1864-1939. Kobenhavn, 1982 (hereafter Rohde 1982), pp.131-132.

44 Kyster, Anker: Kulort Papir til Bogbind.

In: Bogvennen 1928, pp. 60-77, (source: https:// tidsskrift.dk/bogvennen/article/view/72082/104297. Accessed 17 October 2017. In the article, Kyster touches on the known history of coloured papers and his own efforts in making both paste and marbled papers. The article presents an item similar

to the hatip ebru sheets in Budapest, dating those to 1900. In the professional terminology of the time, paste paper was occasionally called Klistermarmor (or in German-speaking areas Kleistermarmor).

The term used by Kyster, bakkemarmor, referred to the marbling technique borrowed from the East—namely, a thin layer of paint spread on a viscous base (tragacanthin, carrageenan, etc.) is transferred to paper laid across its surface. This takes place in a tray or flat dish (in Danish: bakke).

45 See: Meier-Graefe 1898; Brochner, Georg: Danish bookbindings. In: The Studio 1899-1900, Winter, pp. 77-78; Loubier 1903.

46 Kersten, Paul: Das Buntpapier und seine Verwendung besonders für Bucheinbände.

In: Zeitschrift für Bücherfreunde, 1900, Heft 5/6, pp. 169-179.

47 Meier-Graefe 1897, p. 43. We can presume, based on the review, that Eckmann displayed publisher’s bindings in the exhibition; therefore Meier-Graefe must have become acquainted with the artist’s marbled sheets elsewhere.

48 Uzanne, Octave: L’Art dans la décoration extérieure des livres. Paris, 1898 (hereafter Uzanne 1898), p. 249. In part, Uzanne published photos used by Meier-Graefe. In his other article on modern book bindings, published in Kunst für Alle, 1897, voi. XII, Meier-Graefe used illustrations from his earlier study. We can thus presume that the photos in the two Meier-Graefe and the Uzanne studies were taken of material exhibited in 1896

in Bing’s gallery UArt Nouveau.

49 Rohde 1982, p. 132.

50 Bruun 1898, pp. 14-17.

51 Two volumes by Möller with identical titles appear in Paris 1894, p. VII, item 6 and p. VIII, item 16.

52 Designmuseum Danmark, bookbinding collection. Inv. no. I 5407.

53 Designed by Koloman Moser, the first bindings made in the Wiener Werkstätte bookbinding workshop were covered in marbled paper.

In Pichler, Ruperta (ed.): Wiener Wekst 'dtte

79