Billedgalleri
(1/19)
Bogvennen - Svend Dahl (red) + Frits Johansen + August Sandgren
Til salg
300 kr.
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Varebeskrivelse
Fulde titel: Bogvennen - Aarbog for bogkunst og boghistorie 1945":
1. udgave og 1. oplag:
Pæn stand (dog patina på for- og bagsatspapir) - indbundet af Frits Johansen (som har signeret - læg mærke til signeringen - han har indlagt "Rel" efter sit navn - altså det franske ord relieur - som på dansk betyder bogbinder) - med pergament og dekoreret kartonnage - med Salsan-papir (noget af det tidligste) - begge omslag medindbundet - indvendig fals - 131 sider - 25x18,3 cm - uden tilskrivninger - med bilag af indkaldelse til ordinær generalforsamling onsdag den 10. april 1946 - Fischers Forlag 1946.
Prisen er fast.
Berskrivelse:
Frits Johansen var gode venner med August Sandgren (A.S.) så her lidt om ham:
"August Sandgren (1893 – 1934) var en dansk bogbinder. Han var en af Danmarks bedste håndværkere og en stor designer, der aldrig gik på kompromis med bogbindingsteknikkerne.
August Sandgrens kunsthåndværk er i sin smukke og enkle stil i tråd med det bedste inden for dansk design. Sandgren introducerede funktionalismen til bogbinderkunsten i Danmark, og han var en væsentlig innovator inden for dansk bogdesign. Hans bind kan naturligt inddrages i traditionen for dansk design, som for eksempel møbeldesignerne Kaare Klint, Hans J. Wegner og Mogens Koch, arkitekt Arne Jacobsen og sølvsmed Henning Koppel.
August Sandgren tog en læreplads i 1907-1911, og i 1912-19 rejste og arbejdede han i hele Europa, herunder Holland, Tyskland, Schweiz og Frankrig. Da han var ved at indtræde i Italien, brød Første Verdenskrig ud, og de strandede blev sat på et tog til Danmark . Sandgren steg dog af toget i Berlin, hvor han fik selskab af sin yngre bror Oscar Sandgren (1897-1982), også bogbinder.
I Berlin finpudsede August Sandgren sin kunst og tog kurser i typografi og kalligrafi. I en periode var han optaget på Berlin Buchbinder Fachschule og deltog i forskellige workshops. På biblioteker og museer i Berlin stiftede han bekendtskab med den engelske bogbinder TJ Cobden-Sanderson (1840-1922) fra Arts and Crafts-bevægelsen, en inspiration for ham i de første år. Sandgren blev undervist i forgyldning af mesterbogbinder Paul Kersten, og han opnåede anerkendelse for sine store færdigheder.
August Sandgren vendte tilbage til København i 1919 og etablerede sit eget værksted i 1920. Blandt hans mange kunder var bemærkelsesværdige danske kunstnere, herunder Axel Salto. Han havde adskillige danske biblioteker som kunder, herunder Det Kongelige Bibliotek, og inden for en 14-årig periode producerede han omkring 25.000 bogbind til Frederiksberg Bibliotek, hans største kunde.
Han døde af en uhelbredelig sygdom i 1934, og hans værksted blev videreført af hans enke og bror og senere hans søn.
August Sandgren var en stor kunsthåndværker, og han havde en meget klar idé med sit arbejde: Bogbindene skulle være smukke og elegante, indbundet i de fineste materialer, samtidig med at de stadig var yderst brugbare - dvs. de skulle være lette at genkende og finde på hylden, have titler på ryggen, der var lette at se og læse, bøgerne skulle være lette at åbne og holdes åbne, og ikke let slidte. Han var således en tidlig forløber for funktionalismen i dansk design og lagde sig bag den forrige generation af danske bogbindere, især Anker Kyster, der var inspireret af Arts and Crafts-bevægelsen og Art Nouveau. Sandgren undgik den stærkt dekorerede og overbelastede stil og holdt dekorationen på sine bind på et minimum og opnåede en hidtil uset elegance i dansk kunsthåndværk.
Der er en velformet helhed i Sandgrens bind, hvor alle komponenter – ryg , sider, titel osv. – er i fuldstændig balance. Dette opnås ved flade snarere end afrundede rygrygge, flade hoveder og haler samt brædder, der kun er marginalt større end tekstblokken. Pandebåndene er håndlavede og ofte røde og grønne.
De bedste af Sandgrens bindinger er i et enkelt og tidløst design. På hans berømte fuldlæderbindinger, som han lavede omkring 100 af, er dekorationen begrænset til en forgyldt ramme nær sidernes kanter - f.eks. en forgyldt linje, mønster eller geometrisk design - og det store centrale område af siderne er fri for dekoration, så læderets kvalitet og farve er i fokus. Sandgren brugte kun det allerbedste inden for gedeskind eller Marokko-skind (ofte oasegedeskind) med en smuk, naturlig struktur, og hans bindinger er i afdæmpede, mørkere farver, for eksempel brun eller rød. Hans princip er ikke ulig de danske møbeldesignere, som Hans Wegner, hvor træets naturlige farver, teksturer og fleksibilitet fremhæves i deres møbler.
August Sandgren brugte kun et lille antal stempler til at dekorere bindenes ryg, men han brugte dem med stor variation. Han brugte marmoreret sidepapir, håndlavet af ham selv, og de blev holdt i mørkere farver - brun, sort, mørkegrøn og blå, og det smukkeste papir har lodrette, tætte striber.
August Sandgren forvandlede simple papirbind til noget luksuriøst, hvor han brugte sit eget marmorerede papir eller smukt håndlavet italiensk papir. Han forstærkede hjørnerne og oversiden af papirbindene med pergament – en opfindelse han havde lavet.
Pergamentbind var gået af mode på Sandgrens tid, men han genindførte de stærke, hvide bind og kalligraferede ofte titlerne på ryggen på en kunstnerisk måde.
August Sandgren mente, at de forgyldte titler på ryggen er yderst vigtige, fordi funktionaliteten og det dekorative er ét. Han var en stor mester i typografi og justering , han foretrak at bruge de samme typer som i selve bogen, han brugte sjældent forkortelser, stavelser eller vertikale titler. Hans forgyldning er sjældent blevet overgået i dansk bogbindertradition.
August Sandgren producerede også fine æsker og slipkasser, og han lavede flere tusinde arkivæsker til det danske politi.
August Sandgren var en del af den samtidsdanske kunstscene og arbejdede i samarbejde med den danske kunstner Jais Nielsen, der malede akvareller på Sandgrens mest eksklusive vellumbind. I samarbejde med Axel Salto lavede han meget smukke papirdesigns med geometriske mønstre og mørke nuancer, som de kaldte Salsan-papir.
August Sandgren var en del af dansk designs guldalder, han udstillede sine bogbind på Danmarks Designmuseum og var stiftende medlem af en permanent udstilling af dansk kunsthåndværk sammen med sølvsmeden Kay Bojesen.
August Sandgren stiftede i fællesskab med antikvarboghandler Gustav Strand, bibliotekar Frits Johansen og forfatter og forlægger Cai M. Woel den lille forening 'Hjulet', som bl.a. hyldede Johannes V. Jensen. Foreningen udgav fire små skrifter som privattryk i et begrænset oplag, nr. 2 med en illustration af Jais Nielsen. De første af skrifterne blev trykt af Sandgren selv på en lille presse i værkstedet i Pile Allé på Frederiksberg.
Hans arbejde og bidrag til den danske bogbindertradition blev hyldet i Sandgren Selskabet, som blev grundlagt i 1940 af bogbinderne Henrik Park, Niels Refsgaard, Bent Andrée, Jens Juul-Lassen og en række andre fremtrædende danske bogbindere og forgyldere. Sandgren Selskabet var en vigtig institution for diskussionen og udviklingen af dansk bogdesign , teknikkerne bag bogbinding og de mere kunstneriske aspekter af bogbinding og var indflydelsesrig gennem hele det 20. århundrede. Sandgren Selskabet udgav en smukbog om August Sandgren i 1949.
I dag diskuteres og beundres August Sandgrens bogbind i forskellige foreninger i Danmark, herunder Dansk Bibliofil Selskab. Hans bind kan ses på Danmarks Designmuseum og på Det Kongelige Bibliotek.
August Sandgrens bindinger er nogle af de mest eftertragtede blandt danske og internationale bogsamlere og bibliofiler på grund af deres skønhed, høje tekniske kvalitet og stilfulde design".
"Salsan papir: I begyndelsen af 1930'erne indledte August Sandgren et partnerskab med designeren Axel Salto. Salto, der er bedst kendt for sit arbejde inden for keramik og tekstiler, begyndte også at arbejde med bogillustrationer og skabte til sidst sine egne bøger. Mens han arbejdede på en børnebog, "Kursais hændelser", fik hans ønske om bedre papirdesign ham til at kontakte Sandgren for at se, om han kunne trykke sine designs. "Jeg har set dit bogbind," skrev han, "og syntes, de var smukke. Vil du bytte bogbindsarbejde for noget af mit stentøj?" Salto ønskede forsatspapir til sin bog og skabte designs, som Sandgren trykte. De arbejdede sammen om andre designs, hvilket førte til skabelsen af Salsan-papir, en blanding af deres skaberes navne. Oprindeligt blev Salsan-papir trykt på kraftpapir "i et par mønstre, billigt papir i flere farvevarianter, altid trykt i to farver, og i letterpress på bagsiden af brunt kraftpapir." Papirbindere brugte disse karakteristiske papirer på de sædvanlige måder, herunder til foring af kassetter til Saltos bøger. I 1943, efter Sandgrens død, designede Salto 45 nye, mere farverige mønstre. Disse papirer blev produceret i flere farvevariationer og trykt på bedre papir; og i stedet for at blive produceret ved hjælp af letterpress, var de litografiske tryk".
1st edition and 1st printing:
Good condition (but patina on front and back cover) - bound by Frits Johansen (who has signed) with parchment and decorated cardboard - with Salsan paper (some of the earliest) - both covers bound - inner fold - 25x18.3 cm - without attributions - with appendix of notice of the annual general meeting on Wednesday, April 10, 1946 - Fischers Forlag 1946.
The price is fixed.
Description:
Frits Johansen was good friends with August Sandgren (A.S.) so here is a little about him:
"August Sandgren (1893 – 1934) was a Danish bookbinder. He was one of Denmark's best craftsmen and a great designer who never compromised with bookbinding techniques.
August Sandgren's craftsmanship is in its beautiful and simple style in line with the best in Danish design. Sandgren introduced functionalism to the art of bookbinding in Denmark, and he was a significant innovator in Danish book design. His bindings can naturally be included in the tradition of Danish design, such as the furniture designers Kaare Klint, Hans J. Wegner and Mogens Koch, architect Arne Jacobsen and silversmith Henning Koppel.
August Sandgren took an apprenticeship in 1907-1911, and in 1912-19 he traveled and worked throughout Europe, including the Netherlands, Germany, Switzerland and France. When he was about to enter Italy, the First World War II ended, and the stranded were put on a train to Denmark. However, Sandgren got off the train in Berlin, where he was joined by his younger brother Oscar Sandgren (1897-1982), also a bookbinder.
In Berlin, August Sandgren honed his art and took courses in typography and calligraphy. For a period, he was enrolled at the Berlin Buchbinder Fachschule and participated in various workshops. In libraries and museums in Berlin, he became acquainted with the English bookbinder TJ Cobden-Sanderson (1840-1922) of the Arts and Crafts movement, an inspiration for him in his early years. Sandgren was taught gilding by master bookbinder Paul Kersten, and he gained recognition for his great skills.
August Sandgren returned to Copenhagen in 1919 and established his own workshop in 1920. Among his many clients were notable Danish artists, including Axel Salto. He had several Danish libraries as clients, including the Royal Library, and within a 14-year period he produced around 25,000 bookbindings for Frederiksberg Library, his largest client.
He died of an incurable illness in 1934, and his workshop was continued by his widow and brother and later his son.
August Sandgren was a great craftsman, and he had a very clear idea for his work: the bookbindings should be beautiful and elegant, bound in the finest materials, while still being extremely useful - i.e. they should be easy to recognize and find on the shelf, have titles on the spine that were easy to see and read, the books should be easy to open and keep open, and not easily worn. He was thus an early forerunner of functionalism in Danish design and followed the previous generation of Danish bookbinders, especially Anker Kyster, who was inspired by the Arts and Crafts movement and Art Nouveau. Sandgren avoided the heavily decorated and overloaded style and kept the decoration on his bindings to a minimum, achieving an unprecedented elegance in Danish craftsmanship.
There is a well-formed whole in Sandgren's volumes, where all components – spine, pages, title, etc. – are in perfect balance. This is achieved by flat rather than rounded spines, flat heads and tails, and boards that are only marginally larger than the text block. The headbands are handmade and often red and green.
The best of Sandgren's bindings are of a simple and timeless design. In his famous full-leather bindings, which he made around 100, the decoration is limited to a gilded frame near the edges of the pages – for example, a gilded line, pattern or geometric design – and the large central area of the pages is free of decoration, so that the quality and colour of the leather is the focus. Sandgren used only the very best in goatskin or morocco leather with a beautiful, natural texture, and his bindings are in subdued, darker colours, for example brown or red. His principle is not unlike that of Danish furniture designers, such as Hans Wegner, who emphasize the natural colors, textures and flexibility of wood in their furniture.
August Sandgren used only a small number of stamps to decorate the spines of the volumes, but he used them with great variety. He used marbled side paper, handmade by himself, and they were kept in darker colors - brown, black, dark green and blue, and the most beautiful paper has vertical, dense stripes.
August Sandgren transformed simple paper volumes into something luxurious, using his own marbled paper or beautifully handmade Italian paper. He reinforced the corners and top of the paper volumes with parchment - an invention of his own.
Parchment volumes had fallen out of fashion in Sandgren's time, but he reintroduced the strong, white volumes and often calligraphed the titles on the spines in an artistic way.
August Sandgren believed that the gilded titles on the spines are extremely important because functionality and decoration are one. He was a great master of typography and alignment, he preferred to use the same types as in the book itself, he rarely used abbreviations, syllables or vertical titles. His gilding has rarely been surpassed in Danish bookbinding tradition.
August Sandgren also produced fine boxes and slipcases, and he made several thousand archival cases for the Danish police.
August Sandgren was part of the contemporary Danish art scene and worked in collaboration with the Danish artist Jais Nielsen, who painted watercolours on Sandgren's most exclusive vellum bindings. In collaboration with Axel Salto, he made very beautiful paper designs with geometric patterns and dark shades, which they called Salsan paper.
August Sandgren was part of the golden age of Danish design, he exhibited his bookbindings at the Danish Design Museum and was a founding member of a permanent exhibition of Danish handicrafts together with the silversmith Kay Bojesen.
His work and contribution to the Danish bookbinding tradition was celebrated in the Sandgren Society, which was founded in 1940 by the bookbinders Henrik Park, Niels Refsgaard, Bent Andrée, Jens Juul-Lassen and a number of other prominent Danish bookbinders and gilders. The Sandgren Society was an important institution for the discussion and development of Danish book design, the techniques behind bookbinding and the more artistic aspects of bookbinding and was influential throughout the 20th century. The Sandgren Society published a beautiful book about August Sandgren in 1949.
Today, August Sandgren's bookbindings are discussed and admired in various associations in Denmark, including the Danish Bibliophile Society. His bindings can be seen at the Danish Design Museum and at the Royal Library.
August Sandgren's bindings are some of the most sought after among Danish and international book collectors and bibliophiles due to their beauty, high technical quality and stylish design.
"Salsan paper: In the early 1930s, August Sandgren began a partnership with designer Axel Salto. Salto, best known for his work in ceramics and textiles, also began working with book illustrations and eventually created his own books. While working on a children's book, "The Incidents of Kursai," his desire for better paper design led him to contact Sandgren to see if he could print his designs. "I have seen your book bindings," he wrote, "and thought they were beautiful. Will you trade bookbinding for some of my stoneware?" Salto wanted endpapers for his book and created designs that Sandgren printed. They worked together on other designs, which led to the creation of Salsan paper, a mix of their creators' names. Originally, Salsan paper was printed on kraft paper "in a few patterns, cheap paper in several color variations, always printed in two colors, and in letterpress on the back of brown kraft paper." Paperbinders used these distinctive papers in the usual ways, including for lining the cases for Salto's books. In 1943, after Sandgren's death, Salto designed 45 new, more colorful patterns. These papers were produced in more color variations and printed on better paper; and instead of being produced using letterpress, they were lithographically printed".
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Sidst redigeret: 19.5.2026 kl. 13:57 ・ Annonce-ID: 21513529
