Introduction to the 2nd edition of The Bone Folder

Preface


The introduction to the first edition of this translation in the Guild of Book Workers’ Journal (2009) left significant unresolved questions about who Ernst Collin was, his background, family, and fate. These questions originated from mentions in Gustav Moessner’s introduction to the 1984 reprint of the Pressbengel, the edited Wolfskehl correspondence,[1] bibliographies such as Kosch’s Deutsches Literatur-lexikon des 20. Jahrhunderts, and antiquarian dealer listings. These sources incorrectly merged the identities of Ernst Collin, author of the Pressbengel and other works, with Ernst Collin-Schönfeld[2] (1886?-1953), a poet, language teacher, and archivist who also resided in Berlin between the wars, linking both via marriage to Collin-Schönfeld’s wife. The latter Ernst was able to escape Nazi Germany in the late 1930s with his wife Margarete Weisgerber-Collin and died in London in 1953. In the spring of 2013, I was contacted by a genealogist who believed she was related to Ernst Collin through the wife of his father Georg. Working together using genealogical resources, requesting official documents, and searching a far greater body of literature we were able to disambiguate these two Ernsts, confirm the family connections, and begin uncovering a much larger body of his writings. This research process was described in The Tale of Two Ernsts posted to my Pressbengel Project blog,[3] and brought a much deeper connection to a project that had originally focused on Collin’s text, the Pressbengel, and the state of the bookbinding trade then and now.

This new introduction begins to restore the memory and contributions of this significant family of Berlin bookbinders and (re)introduces the writings of Ernst Collin, the most important source of information about them all. None of this would have been possible, however, without the digital collections that have come available since 2009, in particular Google Books and the HathiTrust both of which provided either the full text of articles or enough information to make requests through my colleagues in inter-library loan at Syracuse University Libraries.


About Ernst Collin and his Family


Ernst Collin, author of the Pressbengel, was born 31.5.1886 the son and grandson of court bookbinders to the Prussian Kings and German Emperors, a legacy that greatly influenced his writings.His grandfather Wilhelm Collin (7.12.1820–3.22.1893) was the son of Beuthen-/Bytom-born physician Isaac Collin and his wife Blümche who moved to Berlin in 1832.[4] Wilhelm apprenticed in Berlin with the Prussian Court Bookbinder Abraham Mossner in Berlin 1835-1840, and served his journeyman years in Prague, Vienna,[5] and elsewhere. He opened his own bindery under the name of “W. Collin, Buchbinder und Galanteriewaren Arbeiter” in 1845.[6] Galanteriewaren were accessories such as boxes for objet d’art and similar objects, as well as decorative accessories for the home, something that bookbinders often made.[7] In 1859, Wilhelm became Court Bookbinder to the later Empress Friedrich (Viktoria). In addition to leading the work of a trade bindery,[8] Wilhelm became noted for crafting presentation portfolios for royal decrees (Adressmappen) and similar items such as albums. Interestingly, he was also involved in the creation of stage sets and furnishings for the Royal Court Theater in Berlin.[9] All these contributed to his being awarded the Preussischer Kronenorden (Crown Order) 4th Class with Red Cross on 18 March, 1872.[10] Wilhelm passed in 1893 after a brief illness having received many awards and honors during his life.[11] The Berliner Börsenblatt noted in its obituary of March 22 that he was not just one of the best in his field, but also served tirelessly with numerous civic organizations until the end.[12]

Ernst’s father Max Georg Collin (10.22.1851–12.24.1918) followed in his father’s footstep apprenticing in Berlin with Meister Hunzinger from 1866-1869, a not altogether pleasant experience as many apprenticeships often were. This apprenticeship was followed by journeyman years in Vienna, Paris, and London, with the “most famous German binder,” Joseph Zaehnsdorf. His experiences with the latter made English bookbinding an “ideal” to strive for due to the flourishing conditions of the trade and quality of work at the time.[13] By contrast, an article in the British Bookmaker titled “A German View of English Bookbinding” presented a less rosy opinion, describing British binding as “robust” but “of decorative style and taste there is a complete absence.” a far cry from the work of Roger Payne.[14]

Following his journeyman years, Georg Collin returned to Berlin to work in the family firm under his father. Among his responsibilities was instructing Prince Heinrich (brother of the later Kaiser Wilhelm II) in bookbinding during the winters between 1873 and 1875; learning a trade was expected of all Prussian princes. An anecdote from this experience written by Ernst concerns Georg’s response to complaints from the Court about smelly glue: “well we can’t put Eau de Cologne in it.”[15] From 1878-1881 Georg Collin studied drawing and painting at the Berliner Kunstakademie,[16] an experience that greatly shaped his binding designs and how he worked with materials including painting with leather dyes, something for which he received a patent in 1901.[17] In 1886 he became co-owner of the firm W. Collin with his brother, the businessman Gustav Collin,[18] continuing it after the death of their father in 1893 until 1918. Interestingly, discussed or depicted bindings from this period are generally described as being created by [the firm of] W. Collin with Georg’s name largely absent.

Georg Collin was one of the leading binders in Germany, contributing to the revitalization of artistic expression in the craft with his prize-winning bindings and Adressen, presentation portfolios that made use of a wide range of techniques including Lederschnitt (cut leather), coloring, and tooling.[19] He was also a tireless advocate for making significant changes in German bookbinding in training, technique, and design, an attempt to elevate it vis-à-vis its national competitors in France and England. Collin’s work itself is “noted for conscientious forwarding, for the careful and workman-like treatment of the leather, and particularly for its original tooling. His mosaic work also, while it has strong German characteristics, is true to the best traditions of this branch of decoration.”[20] Beginning in 1898, his work began to exhibit a more “modern” style, something that was viewed with suspicion if only because the staying power of these new styles was suspect and tastes very conservative.[21] His high level of craft earned him the only gold medal for Germany at the 1901 Paris Exhibition for work that was described as “progressive and innovative in style.”[22] The bookbinding trade journals of the time, however, made it clear that there was much work to be done to elevate the overall level of German binding, especially “extra” or fine binding to make it competitive with its peers elsewhere. Collin said in a lecture about the 1900 World Exposition in Paris that “... bookbinding has attained the highest level in France. Unfortunately we must stand back and let this happen, because even if we have the strength, drive, and talent to create work at this level, we just don’t have the clients... Germans just won’t pay what the French and other foreigners will.”[23] The article concludes by saying that in binding at the highest levels, the honors go to France and England, with Germany being the leader in publishers’ bindings. Collin and others acknowledge that a significant part of the challenge is redirecting German tastes and collecting habits, something that would not happen until the fall of the conservative monarchy in 1918.[24]

Georg Collin was not just progressive in the craft and aesthetics of his binding work, but also in his advocacy for teaching the trade, in particular for advocating on behalf of women. While many women found work in binderies, they were barred from learning the trade and advancing through the ranks to Meister. Maria Lühr who would become one of the most noted German binders, apprenticed for a time at the firm of W. Collin and became the first to receive her Meister in 1902. It was largely Georg’s connections to the German court that ultimately led to the breakdown of prohibitions (and the resistance of the Journeymen) against women learning the trade and practicing as Meister, something for which Ernst was also a strong advocate. Most notable among the others who worked under him was Paul Kersten, arguably the most noted German binder of the early part of the 20[th] century, who studied finishing as a journeyman with Collin.

Like his father Wilhelm, Georg was awarded the Preußischer Kronenorden 4th Class on 18 January, 1908,[25] and he was the last to carry the title of Königlicher und Kaiserlicher Hofbuchbinder. The Berliner Börsenzeitung of 8 August 1897 reported that Collin was also named court bookbinder to the Czar of Russia with the right to display the Russian coat-of- arms.[26] Georg Collin had three children with his wife Regina: Gertrude, who learned the family trade and carried on the family business, Elsa, and Ernst, born 5.31.1886. After his death on 24.12.1918, Georg’s widow Regina continued to manage the firm of W. Collin until Gertrude took over. After 1930 the firm was continued as the Spezialbetrieb für Druckarbeiten, a part of Paetsch & Collin.[27] It was “liquidated” by the Nazis in 1939.[28]

Ernst Collin


Ernst Collin (5.31.1886–12.1942) initially followed in the family tradition and learned the trade of bookbinder; however, where he apprenticed is not known. In his writings he describes studying in 1904 with Gustav Slaby and Paul Kersten for a semester in the first class of the Berliner Buchbinderfachschule Klasse für Kunstbuchbinderei.[29] Ultimately, Ernst chose to follow a different path, that of writer for the arts of the book and graphic arts among other topics. His first known articles appeared in Volume 3 (1907-08) of Die Werkkunst: Zeitschrift des Vereins für deutsches Kunstgewerbe where he was identified in the table of contents as “Ernst Collin, Kunstbuchbinder” (fine bookbinder). He also wrote on topics relating to economics and politics, as well as working as an antiquarian bookseller of fine press books via his Corvinus - Antiquariat Ernst Collin, located at Mommsenstr 27 in Charlottenburg. In addition, he served on the editorial board of the Berliner Volkszeitung[30] and Deutsche Export-Revue. The Deutsches Literatur-lexikon des 20. Jahrhunderts indicates that he also wrote under several pseudonyms. Interestingly, the obituary for Georg Collin was written by Ernst Collin using “Heinrich Inheim.”

The list of Ernst Collin’s publications began with 44 titles spread between Mejer’s Bibliographie der Buchbinderei- literatur (1925) and the 1937 volume of the Meister der Einbandkunst’s Jahrbuch der Einbandkunst, and has grown to well over 240 with significant gaps in the chronology that hint at a far greater professional output. His first book was Buchbinderei für den Hausbedarf [1915], a basic bookbinding manual for amateurs. Based on a review of the literature, this is perhaps one of the first in the German language. The iconic Pressbengel was published in 1922, and was followed by his biographical Festschrift Paul Kersten (1925) in honor of his 60[th] birthday. Kersten was one of the seminal German fine bookbinders, and his Der Exakte Bucheinband (1923) helped define German fine binding. Ernst also wrote essays for Festschrifts published by highly-regarded trade binderies. These were Vom guten Geschmack und von der Kunstbuchbinderei for the Spamersche Buchbinderei, Leipzig (1918) and “Fünfzig Jahre deutscher Verlegereinband” for Hübel & Denck (1925). He was also the publisher and author of numerous articles in Die Heftlade (1922-24), the journal of the Jakob-Krauße-Bund: An organization that was absorbed into Meister der Einbandkunst, the group included the most significant names in German bookbinding of the late 19th and early 20th century, among them Paul Adam, Otto Dorfner, Paul Kersten, and Franz Weiße. In addition, Collin edited and wrote in the Jakob-Krauße-Bund’s 1921 exhibition catalog, Deutsche Einbandkunst. His articles were published in at least 60 periodicals and serials between 1907 and 1936, scholarly and popular, they covered the bookbinding trade, book collecting, graphic and other visual arts, and also economics and politics.

Gustav Moessner’s introduction to the 1984 republishing of the Pressbengel stated that Ernst Collin had “disappeared” after 1933. However, despite the ever-tightening spiral of restrictions on his work by the Nazis, first in the form of the Schriftleitergesetz that removed him from his editorial positions and later by laws that eliminated his ability to work, Collin continued to write for the Allgemeiner Anzeiger für Buchbindereien at least until 1936, when he wrote an article on “Otto Pfaffs 25 jähriges Berufsjubiläum.”

Ernst Collin was politically active, and is listed as a contributor to the publication Die Deutsche Nation: Eine Zeitschrift für Politik,[31] along with the great bibliophile Graf Harry Keßler. This publication was aligned with the Deutsche Demokratische Partei (DDP), a center-left social liberal party whose members included, among others, Foreign Minister Walther Rathenau, party leader Friedrich Naumann, and Theodor Heuss who would become the first President of the Federal Republic of Germany in 1949.

The first issue of the Allgemeiner Anzeiger für Buchbindereien published after the war in 1947 included a notice (Randbemerkung) about the Collin family (Wilhelm, Georg, and Ernst). It gave a brief history of these individuals and their work, mentioned that “Ernst had written for this publication for decades, and that as a Jew he had tried to emigrate in 1939, leaving a farewell letter with the publishers. Nothing was heard from him thereafter.”[32]

The Gedenkbuch Berlins der jüdischen Opfer des Nazionalsozialismus[33] and Yad Vashem[34] show Ernst Collin and his wife Else as being deported from Berlin- Grunewald to Auschwitz on 9 December 1942 where they were murdered. “Stolpersteine”memorializing the couple were laid in front of their last chosen residence at Cicerostr 61 in Berlin- Wilmersdorf on April 1, 2014.[35]
About the Pressbengel

The Pressbengel (1922), dedicated to the memory of Ernst Collin’s father Georg, is his best-known work. Shortly after its first publication it was translated into Czech as Utahovák: Knížka rozhovoru mezi estetickým knihomilem a jeho kniharem na ostro kovaným for the series Knihy o knihách, Svazek 1.[36] It was later republished by the Mandragora Verlag in sev- eral editions with an introduction by Gustav Moessner,[37] and translated into Italian as Dal Rilegatore d’Arte.[38] The first translation into English appeared in the Guild of Book Workers’ Journal.[39] A translation into Japanese based on the English translation was published online in serialized form in 2015 by the Research Society for Book History and Conservation.

Conceived as a dialogue between a bibliophile and a master bookbinder on all aspects of the bookbinding craft as well as specific techniques, the original German has a charming if somewhat pedantically formal “school primer” tone, in keeping with the time in which it was written. The question-and-answer format has a long history in pedagogical texts, whether for catechisms such as Nicolaus Cusanus’ Christliche Zuchtschul [40 or trades, as in Friedrich Friese’s Ceremoniel der Buchbinder[41] that introduces the reader to all aspects of bookbinding and its traditions. First published in Czechoslovakia in 1937, Oldrich Menhart’s Evening Conversations of the Booklover Rubricius and the Printer Tympanus is the letterpress equivalent to Collin’s Pressbengel, and there is considerable overlap between the two as might be expected. Evening Conversations was later translated into German (1958) and then English (1980), the latter in a Crabgrass Press edition of 100 copies bound by Fritz Eberhardt.[42]

In his 1922 review of the Pressbengel, the bibliophile and editor of the Zeitschrift für Bücherfreunde, Fedor von Zobeltitz[43] wrote that the book “will become one of the unforgettable texts about bookbinding,” also noting that Collin had “resurrected the of old form of the dialog that had been used during the Reformation to bring together the learned and the ordinary people. In the end, it is a book that is easy and entertaining to read, and from that one can learn a great deal.”[44]

Throughout the work, Collin himself is very frank in addressing the conflicts between quality and cost, as well as the positive and negative impacts of “machines” on the work, all themes he was familiar with through his familial history. In his introduction to the 1984 reprint of Der Pressbengel, Gustav Moessner, author of and contributor to several German bookbinding texts, states that he sees Collin’s work in part as a reaction to the growing industrialization of the bookbinding trade and the loss of the skills and techniques connected with this industrialization. In many respects this trajectory continues today, accelerated by the decrease in formal bookbinding apprenticeship opportunities, the increasing simplification of structures, changing aesthetics, and ultimately, changes in the perceived value of books and the general economic climate. Germany’s strong guild system until recently required one to complete a formal apprenticeship and become a master binder in order to open one’s own shop and train apprentices. Unfortunately, this system has been in decline over the past decades, and many shops are closing or no longer training apprentices. A completed apprenticeship and Meister are also no longer required to open a business if no apprentices are being trained. At the same time, a network of centers and alternative programs such as those in the United States or “master-run” shops offering instruction to amateurs has not developed in a way that would provide the high quality, rigid training critical to sustaining the craft over the long term.

The apprenticeship system declined even earlier in the United Kingdom, another nation with a strong tradition of formal craft training. In other countries the trade system was not as formalized to begin with. Although the United States represents the most diverse environment for the trade, with a blending of the dominant English, French, and German traditions brought over by immigrants, a formal career path like that in the European tradition never developed. Instead, less formal apprenticeships (on-the-job training) became the norm.

Samuel Ellenport’s The Future of Hand-Bookbinding[45] provides an excellent if sobering overview of the changes experienced by the hand bookbinding trade in the United States, but leaves out the explosive growth among amateur binders and book artists. The past thirty years have seen a resurgence of interest in all aspects of the book arts, with centers offering workshops springing up across the United States. Formal programs have been developed, including the North Bennet Street School in Boston (a two-year trade model), the American Academy of Bookbinding in Colorado (a series of workshops), and the University of Alabama’s MFA in the book arts (an academic degree). These programs are doing much to preserve many traditional skills, but the contemporary book arts craft risks losing others that may be deemed too anachronistic or, like gold tooling, simply unaffordable and therefore not regularly practiced. Despite the challenges, these programs and centers have contributed to the development of increasing numbers of binders active on the national and international stage.

Like the original German, this translation of the Pressbengel in English attempts to remain faithful to the original text. It should not be considered a scholarly translation, nor was it ever intended to be a “technical manual.” Like the German original of 1922, it is intended to be a general introduction to the bookbinding craft and trade as it existed in Germany when the work appeared. The title change from Der Pressbengel, an esoteric tool used to increase the leverage when tightening a German backing press (Klotzpresse), to The Bone Folder, an iconic tool that represents bookbinding as no other can, was undertaken both because “Pressbengel” has no “clean” English equivalent and to help make the text more accessible to today’s binders and bibliophiles. In a very few other cases, references to brand names have been made more general where this had no impact on the essence of the text. The result, I hope, is in keeping with the spirit and essence of the original German.

Endnotes


  1. Blasberg, Cornelia (Ed). Karl Wolfskehls Briefwechsel aus Neuseeland, 1938-1948. Darmstadt: Luchterhand Literaturverlag, 1988. Note in Vol. 1, Nr. 333, page 1215.
  2. Guide to the Ernst Collin Collection, 1899-1966. Leo Baeck Institute, Center for Jewish History, NY. http://findingaids.cjh.org/?pID=431096. The collection has been digitized and contains biographical information provided by his wife.
  3. “The Tale of Two Ernsts.” Pressbengel Project Blog, 3/14/2013. http:// pressbengel.blogspot.com/2013/03/the-story-of-two-ernsts.html
  4. Jacobson, Jacob. Die Judenbürgerbücher der Stadt Berlin, 1809-1851. Berlin: Walter de Gruyter & Co., 1962. Beuthen/Bytom lies in the former German state of Silesia, now in Poland. See also entry 1222 for Abraham Mossner, pg. 253
  5. “Der Hofbuchbinder Wilhelm Collin.” Allgemeiner Anzeiger für Buchbindereien, Vol. 60, Nr. 5, 1947 (-69)
  6. Allgemeiner Wohnungsanzeiger für Berlin, Charlottenburg und Umgebungen: auf d. Jahr 1845. Berlin: Verlag von Veit und Comp. Online at Zentral- und Landesbibliothek Berlin,
  7. Galanteriewaren. Duden Online, http://www.duden.de/suchen/ dudenonline/Galanteriewaren.
  8. The Leopold von Ranke Collection of the Special Collections Research Center at Syracuse University Libraries holds over 130 titles (re) bound by the firm of W Collin, and identified with his binder’s ticket. These were (re)bound between 1871 and 1887 when the collection came to Syracuse.
  9. Mossner instructed Crown Price Friedrich Wilhelm, later Kaiser Friedrich III in bookbinding. It was tradition that all Prussian princes learned a trade. He also became Court Bookbinder to the Princess of Wales (1864), and the Emperors and Empresses of Germany. From Collin, Ernst. “Hervorragende Berliner Buchbindermeister des 19 Jahrhunderts.” Der Buchbinderlehrling. Vol. 7, Nr. 12, 1933. (57-61)
  10. Königlich Preußische Ordensliste (Bibliothekssignatur: 44, 27), Geheimes Staatsarchiv Preußischer Kulturbesitz, 7. 22.2014.
  11. Obituary for Wilhelm Collin. Buchgewerbeblatt, Leipzig: Verlag des Buchgewerbeblattes, Vol. 1, 1892-93. (184)
  12. Obituary for Wilhelm Collin. Berliner Börsenblatt. Berlin, 22 March, 1893. (13)
  13. [Ernst Collin, pseudo. Inheim, Heinrich]. Georg Collin (Obituary). Archiv für Buchgewerbe und Graphik. Vol. 56, Nr. 3-4, 1919. (44-46). Inheim is listed as one of Ernst Collin’s pseudonyms in Wilhelm Kosch’s Deutsches Literatur-lexikon des 20. Jahrhunderts. Vol. 5, 325. Zürich and München: K.G. Saur, 2003. Also Collin, Ernst. “Bedeutende Männer des Buchbinderhandwerks.” Der Buchbinderlehrling, Vol. 6, Nr. 9, 1932. (142-144)
  14. “German View of English Bookbinding.” The British Bookmaker, Vol. 5, 1891-92. (283)
  15. Collin, Ernst. “Bedeutende Männer des Buchbinderhandwerks,” Der Buchbinderlehrling, Vol. 6, Nr. 9, 1932. (142-144)
  16. [Ernst Collin, pseudo. Inheim, Heinrich]. Georg Collin (Obituary). Archiv für Buchgewerbe und Graphik. Vol. 56, Nr. 3-4, 1919. (44-46).
  17. Collin, Georg. Patent for Process of Marbling or Decorating Leather, 1901. US Patent 670,396.
  18. Berliner Börsenzeitung, Berlin, 27 November 1887. (7)
  19. Several of these are depicted in: “Addressen von W. Collin.” Archiv für Buchbinderei. Vol. 13, Nr. 5 1913. (65-71)
  20. Growell, Adolf. The Profession of Bookselling: A Handbook of Practical Hints...New York: Office of Publishers Weekly, 1895. (108)
  21. “Aus der Werkstatt W. Collin.” Archiv für Buchbinderei, Vol. 7, Nr. 5, 1907, (67-70). Article with numerous illustrations of his work.
  22. “Die Ausstellung von Hofbuchbinder Georg Collin, in Firma W. Collin.” Archiv für Buchbinderei, Vol. 1, Nr. 1, 1901-1902. (62-68). Article with numerous illustrations of his work.
  23. “Die Kunst- und Grossbuchbinderei, sowie Lederwaren-Branche auf der Pariser Weltausstellung 1900.” Lecture by Georg Collin at the 21st meeting of the Bund deutscher Buchbinder-Innungen in Altona. Allgemeiner Anzeiger für Buchbindereien. Vol. 15, Nr. 17, 1900. (267-270)
  24. Numerous articles in the Archiv für Buchbinderei, Archiv für Buchgewerbe, Allgemeiner Anzeiger für Buchbindereien, and elsewhere.
  25. Königlich Preußische Ordensliste (Bibliothekssignatur: 44, 27), Geheimes Staatsarchiv Preußischer Kulturbesitz, 7. 22.2014. In addition Georg Collin was awarded the Ottoman Order of the Medjidie 3rd Class on Febrary 1, 1905 (Archiv für Buchbinderei, Vol. 4, 1905 (175) and the Lippesche Rose für Kunst und Wissenschaft [n.d.]. (Dohrmann, Inken. 150 Jahre Jahre Verein Berliner Buchbindermeister, gegründet 1849. Berlin: Verein Berliner Buchbindermeister 1849, 2001).
  26. Berliner Börsenzeitung. 8 August 1897. (7)
  27. Dohrmann, Inken. 150 Jahre Jahre Verein Berliner Buchbindermeister, gegründet 1849. Berlin: Verein Berliner Buchbindermeister 1849, 2001. In 1902, Lühr became Director of the bookbinding workshop of the Lette Verein, a trade school for women. She was succeeded by Paul Kersten. Lühr also provided the introduction for and reworked the 2nd translated edition of Cockerell, Douglas. Der Bucheinband und die Pflege des Buches. Leipzig: Klinkhardt & Biermann, 1925.
  28. Jüdische Gewerbebetriebe in Berlin 1930-1945. Humbolt Unversität zu Berlin. Online database. http://www2.hu-berlin.de/djgb/www/find.
  29. Collin, Ernst. “Ein viertel Jahrhundert kunstbuchbinderische Erziehung - 25 Jahre Berliner Kunstklasse.” Archiv für Buchbinderei, Vol. 29, Nr. 9, 1929. (106-108)
  30. Institut zum Studium der Judenfrage. Die Juden in Deutschland. Zentralverlag der NSDAP. München: Verlag Franz Eher Nachf., G.m.b.H., 1939. 8th ed. (PDF pg. 74). https://archive.org/details/DieJudenInDeutschland. Also editorial board of Deutsche Export-Revue
  31. Advertisement in Schmidt, Annalise. Der amerikanische Mensch; vom Wesen Amerikas und des Amerikaners. Berlin, Deutsche Verlagsgesellschaft für Politik und Geschichte, 1920. (96)
  32. “Der Hofbuchbinder Wilhelm Collin.” Allgemeiner Anzeiger für Buchbindereien. Vol. 51, Nr. 5, 1947(68-69)
  33. Gedenkbuch Berlins der jüdischen Opfer des Nazionalsozialismus. Berlin: Freie Universität Berlin, Zentralinstitut für sozialwissenschaftliche Forschung, Edition Hentrich, 1995.
  34. http://db.yadvashem.org/names/nameDetails.html?itemId=3789861
  35. Stolpersteine are “monuments” created by the artist Gunter Demnig that commemorate victims of the Holocaust. They are small, cobblestone- sized memorials for an individual victim of Nazism and record the name of the individual, their birthday, and their fate. They were “sponsored” by the family of Rita J. Kuhn, Ruth Wiseman, and Peter D. Verheyen. The http:// pressbengel.blogspot.com/2014/04/stolpersteine-for-ernst-and-else-collin.html
  36. Collin, Ernst. Utahovák: Knížka rozhovoru mezi estetickým knihomilem a jeho kniharem na ostro kovaným. Prague: [Arthur Nova´k], 1925. This was the first title in the series Knihy o knihách, Svazek 1 (Books about books, Vol.ume 1). Prior to this an excerpt and complete chapters were published in the Czech journals Bibliofil and Vitrinka.
  37. Collin, Ernst. Der Pressbengel. Münster: Mandragora Verlag, 1984/1989/1992. 1984 and 1989 editions with illustrations by Leopold Reiser, 1992 edition with illustrations by Andreas Raub.
  38. Collin, Ernst. Dal Rilegatore d’Arte. Mendrisio: J. Weiss, 1996. Translated by Barbara Griffini with introduction by Gustav Moessner.
  39. Verheyen, Peter D. “The Bone Folder by Ernst Collin.” The Guild of Book Workers Journal, 2009. (48-63).
  40. Nicolaus Cusanus. Christliche Zuchtschul. Jetzt zum andern Mahl auffs new bersehen, vnd getruckt mit einem nützlichen Zusatz [...].Cölln (Cologne): In Verlag Ioannis Kinchii Buchhändlers, 1656.
  41. Frisius, Friedrich. Ceremoniel der Buchbinder. Leipzig: [s.n.], 1712. (This work was reprinted in a facsimile edition – Hannover: Edition “libri rari” Th. Schäfer, 1985.)
  42. First appeared in the Czechoslovakian journal Bibliophil (1937), monographic publication as Vecerní hovory knihomila Rubricia a starotiskare Tympa´na. Kromeríž: Karel Kryl ml., 1947. Translation into German by Otto Franz Babler as Abendgespräche des Bücherfreundes Rubricius und des Buchdruckers Tympanus, Frankfurt a.M: Typographie Herman Zapf, 1958. Translation into English by Philip. L. Metzger and published by his Crabgrass Press, Prairie Village, Kansas in 1980.
  43. http://de.wikipedia.org/wiki/Fedor_von_Zobeltitz
  44. Zobeltitz, Fedor von. “Buchbesprechung: Der Pressbengel. Ernst Collin, Euphorion Verlag, Berlin.” Die Heftlade: Zeitschrift für die Förderer des Jakob-Krauße-Bundes. Nr. 5, 1922. (62-63) Berlin: Jakob-Krauße-Bundes durch Ernst Collin, Euphorion Verlag, 1922.
  45. Ellenport, Samuel. The Future of Hand-Bookbinding. Boston: Harcourt Bindery, 1993.

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