[202]
[203]

THE ART OF THE BOOK IN AUSTRIA. BY A. S. LEVETUS

LIKE other countries Austria has, in all that relates to the book, gone through periods of high developments, followed by a time of inactivity which could but lead to eventual decay. That in the past many works of a high artistic value as regards printing, illustrations, type, and binding, in fact all the qualities which go to make an artistic production, were issued by the various presses, many books still existing go to prove. On the whole the printers of Austria were never TITLE-PAGE DESIGNED BY R. RUICKA. TITLE-PAGE DESIGNED BY R. RUICKA. PUBLISHED BY THE MANES SOCIETY, PRAGUE very numerous, and she has never been a book-producing centre, even in the Capital itself, as have been many German cities, such as Nuremberg, Augsburg and Leipzig. Under the Empress Maria Theresa the art of the book flourished, for being possessed of a fine artistic nature, she granted many privileges to the makers of books, and set great value on such volumes as were real works of art. Her son, Joseph II, who during his youth, following the custom of the time, adopted a trade, chose printing, and mastered it thoroughly. He likewise granted certain privileges to the printers and in every way encouraged the art. TITLE-PAGE DESIGNED BY VLADIMÍR UPANSKÝ. TITLE-PAGE DESIGNED BY VLADIMÍR UPANSKÝ. PUBLISHED BY THE MANES SOCIETY, PRAGUE During the second half of the eighteenth century the Art of the Book developed considerably. New types were invented, woodcut engravings gave way to copper engravings, the paper was of the best quality, the bindings of the finest leather and of beautiful design, everything, including the end-papers, reached the highest standard. But reaction was inevitable in Austria as it was in other countries, for the age of machinery had come. Hand-made paper, which had furnished a staple trade in Moravia since 1520, when the first paper-mill was founded in Gross-Ullersdorf, deteriorated; the printing-machine took the place of the hand-press; the fine hand-tooled leather bindings were forced to yield to the more commercial article.

TITLE-PAGE DESIGNED BY J. BENDA. TITLE-PAGE DESIGNED BY J. BENDA. PUBLISHED BY THE ENSKI KLUB, PRAGUEBut in Austria, as elsewhere, the Art of the Book was to be reborn, and it was William Morris who was to give the impulse, for the fame of the Kelmscott Press had reached Vienna. The men of the new school, Alfred Roller, Josef Hoffmann, Koloman Moser, Baron Myrbach, Rudolf von Larisch, and others have spread the new teaching. The moment was the right one, the need of reform in all and everything concerning book-production was recognised as part of the programme when the general question of the teaching of art was raised in 1897; but the regeneration of the Art of the Book really dated from the beginning of the present century. It must not be thought that no efforts had been made to rescue the art previous to the great reform. Far from it. Twenty-five years ago the first steps were taken by the founding of the Imperial “Lehr- und Versuchsanstalt fÜr graphische Kunst,” an institution for teaching and experimenting in graphic art, where from the first excellent work was done under Hofrat Eder. The “Hof- und Staatsdruckerei” (Imperial and State Printing Office) had been called into existence eighty years previously. But the great impetus was given some dozen years ago when men trained in the new school of thought in decorative art were appointed teachers in the various schools and institutions.

PAGE DESIGNED BY HEDWIG SCHMIEDL, FOR THE IMPERIAL GRAPHISCHE LEHR-UND VERSUCHSANSTALT, VIENNA PAGE DESIGNED BY HEDWIG SCHMIEDL, FOR THE IMPERIAL GRAPHISCHE LEHR-UND VERSUCHSANSTALT, VIENNA The Art of the Book in Austria in its modern aspect is but young, but its development is most interesting. All that is best in graphic art of the past served as the ground-work on which to build the art of our time; and this artistic basis being of so fine a calibre, sound and sure, has led to very satisfactory results. First, in the teaching of ornamental writing under Professor Rudolf von Larisch. He has expounded his tenets in his “Unterricht in ornamentaler Schrift,” a work of great value to all interested in this subject. What he aims at is form, configuration and spacing, to add rhythm to the letters themselves, and to harmonise one with another in the building-up of the word; for even the simplest of words rightly rendered should be decorative. He does not consider the creating of new forms of paramount importance, PAGE DESIGNED BY BERTA BINDTNER, FOR THE IMPERIAL GRAPHISCHE LEHR-UND VERSUCHSANSTALT, VIENNA PAGE DESIGNED BY BERTA BINDTNER, FOR THE IMPERIAL GRAPHISCHE LEHR-UND VERSUCHSANSTALT, VIENNA but sets much store on the relation of the letter to the word, the word to the sentence. These should fit into one another in the same manner as the component parts of a perfect piece of architecture, for, as in architecture we see the foundation of all art, so in lettering the basis of all book decoration is to be sought. This theory is supported by the study of early printed works and more particularly so in those printed towards the end of the sixteenth century. Here we see the aim was to achieve harmony in type, ornament and illustration. This, too, is the aim of those who produce artistic books other than those issued by the ordinary publisher. Unfortunately there are but few of the former class in Austria. But many of the Austrian artists are engaged in illustrating books for German and other publishers. In Vienna, Artur Wolf has published some very fine works illustrated by Franz von Bayros, Ferdinand Staeger, and other artists; Konegen's series of children's books, illustrated by Marianne Hitschmann-Steinberger, are full of charm and understanding of child life; Gerlach and Wiedling's books for children have been illustrated by various artists: Professor Czeschka, Karl Fahringer, F. Staeger, Franz Wacik, FrÄulein Frimberger among others. That excellent work is being done may be gathered from our illustrations. FrÄulein C. Hasselwander has done very good work as an illustrator of children's stories; C. KÖystrand has won renown COVER DESIGN BY F. KYSELA, FOR NOVA EDICE, PRAGUE COVER DESIGN BY F. KYSELA, FOR NOVA EDICE, PRAGUE as an illustrator of refined humour; Ferdinand Staeger is one of the best-known illustrators of the “MÜnchner Jugend,” and a draughtsman of great variety and vitality; Wenzel Oswald and Gustav Kalhammer are past students of the Imperial “Kunstgewerbeschule” in Vienna and are essentially decorative in their art; while Dagobert Peche hails from the Imperial Academy and his work is of a highly decorative character. Alfred Keller is an architect by profession, as is Dagobert Peche, but he is also an illustrator of books, his chief forte lying in line drawing.

Some of the Austrian artists excel in the designing of book-bindings, and it is safe to say their work will achieve lasting fame. The mention of names such as Professors Josef Hoffmann, Koloman Moser and Czeschka, are sufficient to vouch for this assertion; Anton Hofer and Rudolf Geyer, both past students of the Imperial Arts and Crafts School, have also done some very beautiful work which will live. All these artists have produced bindings which in quality of design, material, and workmanship are all that could be desired.

TAILPIECE DESIGNED BY HEDWIG SCHMIEDL, FOR THE IMPERIAL GRAPHISCHE LEHR-UND VERSUCHSANSTALT, VIENNA TAILPIECE DESIGNED BY HEDWIG SCHMIEDL, FOR THE IMPERIAL GRAPHISCHE LEHR-UND VERSUCHSANSTALT, VIENNA In the designing of new types excellent results have been achieved. “Czeschka's Antiqua,” the invention of Professor Czeschka, is extremely beautiful in its simplicity. I has been acquired by Messrs. Genzsch and Heyse, of Hamburg, and is illustrated on page 211.

Dr. Rudolf Junk's new type is characterized by the same high qualities though it differs widely in form from that of Professor Czeschka; Herr Mader's type is less clear, though it is interesting. For this Professor Hoffmann has made the borders and ornament. FrÄulein Schmidt may also be counted amongst those who have created new and interesting types. These have all been published by the “Hof-und Staatsdruckerei.”

In the provinces Bohemia holds the first place in the Art of the Book, which is but natural considering how high a prestige Prague, Pilsen, Kuttenberg, and other of her towns enjoyed in bygone ages. In modern graphic art and book-decoration many Czech artists have distinguished themselves. The various reproductions here show that their inspirations are those of the true artist. To these must be added Zdenka BraunerovÁ, Adolf KaŠpar, and Vojtech Preissig. That the publishers are collaborating with the artists is a good sign, and the next few years will no doubt see further developments. The fact that the modern movement in Bohemia in the Art of the Book is still in its infancy, and that, in spite of this, so much that is good has already been done, speaks well for the future.

PAGES OF TYPE AND BORDER DESIGNED BY PROFESSOR C. O. CZESCHKA, CAST BY GENZSCH AND HEYSE, HAMBURG