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 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.
INITIAL LETTERS DESIGNED BY ARTUR SJÖGREN