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THE ART OF THE BOOK IN SWEDEN BY AUGUST BRUNIUS

IN Sweden, as elsewhere, the latter half of the nineteenth century brought about a brighter period for the Art of the Book as regards typography, quality of paper, and binding. Still the decay had hardly been as great as in other branches of decoration and handicraft. Two publishing firms, P. A. Norstedt, Stockholm, and Berling, Lund, have maintained a high standard of book-making. On the other hand, a more artistic character was adopted between 1870 and 1880 by using traditional means, by imitating Gothic manuscripts, or by a somewhat arbitrary use of Old Northern ornamental art. The renaissance, which in Sweden burst forth at the beginning of the nineties, originated in a revival of interest in the decorative arts, especially in the textiles of the Viking and Saga periods. The Old Northern spirit ran like an undercurrent through the life of the whole country, and culminated in Artur Hazelius's epoch-making museum work, Skansen and the Northern Museum. Just at the right moment there was added a practical study of modern book-making in England and on the Continent. A whole generation was seized by the new ideas which were proclaimed with such power by William Morris.

To initiate a movement, combining as it does artistic and practical PAGE FROM “A HISTORY OF SWEDISH WOODCUTS.” PAGE FROM “A HISTORY OF SWEDISH WOODCUTS.” ORNAMENTS BY ARTUR SAHLÉN. PRINTED BY NORSTEDT UND SÖNER knowledge, a passionate idealist is required. Such an idealist is Waldemar Zachrisson, a printer of Gothenburg (born 1861). He studied in Sweden and at the best printing firms in Hamburg, Leipzig, Vienna, Berlin, and St. Petersburg, and developed his taste by constant study of the masterpieces of great times and the new English and American fine printing practised by Morris and De Vinne. As soon as he had secured his own great business he began to work for the raising of the whole trade. He founded a union of experts, “AllmÄnna Svenska Boktrycka-refÖreningen” (Swedish Printers' Society), which worked for the establishment of the Museum of Industrial Art in Stockholm and the Technical School for Industrial Art in Gothenburg. In a number of ways, through artistic advertisements and articles in the trade papers, he tried to prepare the ground for a higher standard in the printing-trade generally, and his distinct practical outlook made his efforts eminently successful.

Lately in Sweden the common feature in the aims for developing the art of the book has been the accentuation of the national character. The difficulties have here been considerable. As yet we do not possess a fount designed by a Swedish artist, but the types we have are founded on an old predilection for the Roman type. Already in 1550 the Roman type had been introduced into Sweden. During the seventeenth and eighteenth centuries Swedish taste was concentrated upon Dutch and French models. The Roman type which is now used in Sweden, and which is cut in Hamburg, suggests Caslon's somewhat modernized type. It is called “MediÆval-Roman,” and has many advantages, is easy to read, and has an unassuming simplicity. The light tone may perhaps sometimes seem monotonously grey. English readers will certainly find its resemblance to the English type, but will also easily discover the differences.

It is characteristic of Swedish printing that it appears to best advantage and is most personal in publications of an occasional character intended for a select public. The rest of the productions are on a considerably lower level. To English and French tastes our belles lettres show an astonishing lack of typographical unity. There is a great variety in the size and makeup, and also various many-coloured paper covers, both of good and bad style, are used. However, an improvement has occurred in the last few years, a quieter taste has manifested itself. A good step forward is the excellent publication of Swedish classics issued by the “Svenska Vitterhetssamfundet” (the Swedish Literature Society), and printed at Albert Bonnier's works. Here a severe and pure style is combined with exquisite material, and great care is bestowed upon the typography. An undertaking like this would be a credit to any country. In equally good style is the Swedish edition of Olaus Magnus's “Historia de Gentibus Septentrionalibus,” published by another society, the “Michaelisgillet” (the Michael Guild). It was written about 1550 by the last Catholic Archbishop of Sweden, who was one of the greatest travellers and most interesting writers of the Renaissance. The text is illustrated by old woodcuts, which had been carried out according to Olaus Magnus's own designs. Two volumes of this splendid work have been printed by Almqvist and Wiksell, Uppsala.

In a similar manner the great Handicraft Exhibition at Stockholm in 1909 produced four Swedish classics; they were given as prizes in a lottery. These four books were arranged and printed by four different firms, an achievement which could not have been accomplished ten years earlier.

This general survey of the art of the book during the last decades would be incomplete if it did not mention a printing firm which, through its good typography, now occupies a prominent position. The two brothers Hugo and Carl LagerstrÖm have bestowed a great deal of labour on trying to attain a higher level in printing. They learnt their trade in Germany, England, and France, and worked for some years—one in Stockholm, the other in Copenhagen—before they founded the LagerstrÖm Brothers printing firm in 1903. They have also taken a prominent part in the arts and crafts movement generally. They started a paper called the Nordisk Boktryckarkonst (Northern Art of Printing), and founded two societies, one of which is the above-mentioned “Michaelisgillet.” Dr. Isak Collijn, a distinguished librarian, was the third founder.

The first book LagerstrÖm Brothers printed was a kind of typographical prospectus. Among the eight volumes by August Strindberg there is a chemical work called “Antibarbarus.” This book was decorated by a young artist, Artur SjÖgren, who is a book-decorator with a profound knowledge of old Swedish typography. The book was printed in a small choice edition on hand-made paper, and four pages are shown here (pp. 249 to 252). Since then LagerstrÖm Brothers have published numerous PAGE FROM “BONDE-PRACTICA.” PAGE FROM “BONDE-PRACTICA.” INITIAL LETTER BY LEON WELAMSON. PRINTED BY BRÖDERNA-LAGERSTRÖM large and small books, always for a more limited public, but at a price which only slightly exceeds the ordinary book-prices. Their productions express the same ideas of compromise that the English Medici Society is striving for.

The bibliophile public in Sweden leans towards the old books, and would not support a real aristocratic book-business on new lines and with modern aims. LagerstrÖm Brothers, however, have printed some of the most beautiful Swedish books, with and without decoration: a couple of historical memoirs from the time of Charles XII; a series of small books selected from old Swedish literature; and finally, a reprint of a book which certainly has no equivalent in English literature, but which all the same would probably have some interest for an English public. The title is “Bonde-practica,” and it is a kind of text-book for peasants in nature-study and hygiene, partly written in verse. The book was published for the first time in 1662. It is a collection of observations founded on the theories of astrology, and told with much humour. This book reveals the Swedish outlook on life and the education of the people in olden times. Leon Welamson, a young artist, has made for the new edition of this curious old book some simple and vigorous illustrations, which without being imitations are executed in the old style. It is a masterpiece of Swedish typography.

Book illustrations and decoration play an important part in the modern art of the book. Illustrated books have always been popular, and many of our best artists of to-day began their careers as illustrators. Carl Larsson is a typical Swedish illustrator and a distinguished painter. He illustrates, in colour or black-and-white, his own text. But he belongs to an older school in so far as he does not pay so much attention to the claims of decoration. Olle Hjortzberg is a comparatively young artist. He is in part influenced by the modern English school of book decorators, and has done work that would satisfy even the most exacting critics. He has acquired an extraordinary mastery over the early Christian language of symbols, and has in his books used it in an ornamental manner with great success. At present PAPER COVER PRINTED BY NORSTEDT UND SÖNER PAPER COVER PRINTED BY NORSTEDT UND SÖNER he is engaged on a richly decorated “State” Bible, (“Gustav V's Bible,” ) a gigantic undertaking, in which both artist and printer hope to surpass themselves (p. 248).

While Olle Hjortzberg and Artur SjÖgren are more closely attached to the technique of the book, Einar Nerman, one of the youngest Swedish artists, is more independent. He has illustrated several children's books and has done some caricatures. There is a touch of the rococo in his drawing, and elegance combined with a bold wit which proves some French influence. His curving lines bring forth a “roguishness” that is unparalleled in Swedish art, and can compare with the best foreign examples. The illustrations to the well-known tale by Hans Andersen, “Peter the Swineherd” (p. 256), are purely original.

Finally, a few words regarding modern Swedish bookbinding. Our productions have, from the sixteenth century up to the present time, followed sometimes German and sometimes French models; during certain periods, however, our craftsman have produced work important and original enough to be called “Swedish.” The middle of the eighteenth century especially was a flourishing age for the art of bookbinding. A hundred years later the art began to lose its value and importance, but before many decades had passed the first sign of an upward tendency was noticed. It was in 1886, when Gustaf Hedberg returned from Paris and London where he had been studying for a long time. He has designed and carried out numerous bindings, and has been especially successful in attaining a rich effect by small means. His ingenuity and ability in giving even to a simple binding an original character are qualities associated with the great craftsmen of all time.

The Countess Eva Sparre, nÉe Mannerheim, is at present our leading artist in bookbinding, in the sense that the work is entirely her own, independent of traditional style and original in composition, in execution, and especially in colour-effects. She has not executed a great number of bindings, but they are all distinguished by individual character, very modest in their ornamentation, and exquisite in the use of the materials. Miss Greta Morssing, who has chiefly studied the modern English tooled work, is also an accomplished exponent of the art.