DOI Page / Citation link:
https://doi.org/10.11588/diglit.61314#0093
Danish Bookbindings
ANISH BOOKBINDING. BY
GEORG BROCHNER.
Of late years there has been what
virtually amounts to a renaissance in the craft
of bookbinding in Denmark. Apart from a re-
vival of some of the best traditions of the past,
entirely new and genuinely artistic influences have
been brought to bear upon the whole question,
and the Danes are to be much congratulated upon
the vast strides which everything connected with
the binding of books has made during the latter
part of the present decade. Designers of rare and
original talent have worked hand in hand with
able and enthusiastic craftsmen, and the excellent
results of this co-operation has already more than
once been commented upon in The Studio.
The new movement is characterized, not only by
freedom and originality of design, but also by the
introduction of a decorative variety in colour,
hitherto unknown, which has, perhaps, more
especially benefitted the less elaborate and costly
bindings. The sensitive and sober good taste
of the Danes has also shown itself in this
connection, and it is somewhat surprising that
we do not find even the faintest trace of that
weakness for a rather vulgar overloading
which is so much in vogue in a neighbouring
country.
A peculiar form of binding, or rather cover, now
in general use in Denmark is a paper cover,
especially designed for each individual book and
forming part and portion of the same. Col-
lectors nearly always retain these particular covers
on their volumes. They are often striking and
highly ornamental, and act as a sort of minia-
ture poster, making the bookseller’s window at-
tractive in more than one sense of the word. I
am not sure whether Demark has not in a way
originated this pretty idea—at the same time
artistic and inexpensive—but in any case Danish
covers of this description can vie with those of any
other country. As a rule, the nature of the orna-
mentation of the cover is in close harmony with
the contents of the book, and it is the exception,
that it is of a purely decorative nature. Gerhard
Heilrhann, who is nothing if not decorative, has
done a number of very charming covers of this
END PAPER
DESIGNED BY GERHARD HEILMANN
74
ANISH BOOKBINDING. BY
GEORG BROCHNER.
Of late years there has been what
virtually amounts to a renaissance in the craft
of bookbinding in Denmark. Apart from a re-
vival of some of the best traditions of the past,
entirely new and genuinely artistic influences have
been brought to bear upon the whole question,
and the Danes are to be much congratulated upon
the vast strides which everything connected with
the binding of books has made during the latter
part of the present decade. Designers of rare and
original talent have worked hand in hand with
able and enthusiastic craftsmen, and the excellent
results of this co-operation has already more than
once been commented upon in The Studio.
The new movement is characterized, not only by
freedom and originality of design, but also by the
introduction of a decorative variety in colour,
hitherto unknown, which has, perhaps, more
especially benefitted the less elaborate and costly
bindings. The sensitive and sober good taste
of the Danes has also shown itself in this
connection, and it is somewhat surprising that
we do not find even the faintest trace of that
weakness for a rather vulgar overloading
which is so much in vogue in a neighbouring
country.
A peculiar form of binding, or rather cover, now
in general use in Denmark is a paper cover,
especially designed for each individual book and
forming part and portion of the same. Col-
lectors nearly always retain these particular covers
on their volumes. They are often striking and
highly ornamental, and act as a sort of minia-
ture poster, making the bookseller’s window at-
tractive in more than one sense of the word. I
am not sure whether Demark has not in a way
originated this pretty idea—at the same time
artistic and inexpensive—but in any case Danish
covers of this description can vie with those of any
other country. As a rule, the nature of the orna-
mentation of the cover is in close harmony with
the contents of the book, and it is the exception,
that it is of a purely decorative nature. Gerhard
Heilrhann, who is nothing if not decorative, has
done a number of very charming covers of this
END PAPER
DESIGNED BY GERHARD HEILMANN
74