Showing posts with label Buchbinder. Show all posts
Showing posts with label Buchbinder. Show all posts

Saturday, March 20, 2021

Fritz Eberhardt’s Finishing Tools and Technique

It was once again my pleasure to collaborate with Don Rash and his Boss Dog Press by translating essays from the German that highlight the work of one of that tradition's finest binders, a student of Ignatz Wiemeler. From the downloadable prospectus

The Boss Dog Press is pleased to announce the upcoming publication of Fritz Eberhardt’s Finishing Tools and Technique, the sixth book from the Press and the third volume in the series Eberhardtiana. The goal of this series is to preserve the writings and art of fine hand bookbinders Fritz Eberhardt (1917-1997) and his wife Trudi (1921 -2004). In addition to being two of the finest binders of the twentieth century, Fritz and Trudi were teachers, mentors and good friends to many practitioners of the book arts, and their work and lives deserve to be remembered and celebrated. It has been the honor of the Press to do this in a small way.

Finishing Tools follows 2004’s Rules for Bookbinders and 2014’s Three Lectures. It catalogs 94 unique finishing tools which Fritz fabricated for tooling in blind and gold on his design bindings. Each tool is represented by a description, measurements, and a scanned image of the tool’s impression. There will also be digital photographs of the tools, of the electric tooling station that Fritz used, and of a paper tooling pattern used on Fritz’s design binding of Gordon Craig’s Paris Diary. The catalog proper is preceded by two essays dealing with Fritz’s work, one by Professor Hans Halbey and one by Fritz himself. The essays were published together in the March 1990 issue of the German bibliophile journal Philobiblon. 

Millimeter binding (Edelpappband) covered in decorated paper
by the binder with tooling based on Eberhardt's unique tools,
leather trim at top and bottom, and title stamped in gold. 

Title page with photo of Eberhardt tooling a binding.

One of Eberhardt's bindings and the beginning of the essay where
he discusses his binding philosophy.

Photos of Eberhardt's tools with description and
printed impression of the design.

From the colophon:

This is the third volume of EBERHARDTIANA. It was compiled, designed and executed by Don Rash, with the ongoing support of Elaine Rash. Types used are digital versions of Herman Zapf's Aldus for the text and Michaelangelo for the titling. The book was composed in Adobe InDes1gn. Boxcar Press supplied the polymer plates for printing. The paper was made at the University of Iowa Center for the Book by Tim Barrett and student co-workers, and as printed damp on the BDP Washington handpress. Inks are Graphic Chemical Albion

Matte Black and Hanco Leaf Brown. The tool impressions in the catalog were done by scanning smoke proofs, converting them to printable images in Adobe Illustrator and printing them with the text. All photographic images are digitally printed onto 48 gram Asuka paper.

The edition consists of 80 copies, with 10 copies (I-X) unbound, and with 50 regular copies (1-50) and 20 hors commerce copies(A-T) bound in full decorated paper over boards with leather strips at head and tail.

To learn more about the Eberhardt's, read their oral history recorded by Valerie Metzler, in which they discuss their life, their training, their time in the United States, and much more. It can be found in Volume 37, Number 2, 2002 of the Guild of Book Workers' Journal. Very much worth reading.


Saturday, January 9, 2021

Bookbinders from Meinholds Handwerkerbilder

Below the image for bookbinding from Meinholds Handwerkerbilder. This was number 15 in the series illustrating trades. They were produced by Meinhold und Söhne, Dresden primarily as "posters" that were suspended between wooden rods for classroom use in 1924. The scan below is from a postcard series that was also issued.

Meinholds Handwerkerbild Nr. 15, Buchbinder

The Series:

Nr 1. Der Schmied / Blacksmith, Nr 2. Der Tischler Cabinetmaker, Nr 3. Der Schuhmacher Shoemaker, Nr 4. Der Schneider Tailor, Nr 5. Der Bäcker Baker, Nr 6. Der Töpfer Potter, Nr 7. Der Klempner Plumber, Nr 8. Der Böttcher Barrelmaker, Nr 9. Der Bauhandwerker Construction worker, Nr 10. Weber Weaver, Nr 11. Der Flußfischer River fisherman, Nr 12. Der Sattler Saddlemaker, Nr 13/14. Schriftsetzer und Buchdrucker Typesetter and printer, Nr 15. Der Buchbinder Bookbinder, Nr 16. Der Fleischer Butcher, Nr 17. Der Korbmacher Basketmaker, Nr 18. Der Gerber Tanner, Nr 19. Der Maschinenschlosser Machinist, Nr 20. Der Gärtner Gardner


Friday, April 17, 2020

Carl Schulze Binding on Masereel

Recently acquired a copy of Der Ewiger Jude (The Wandering Jew) illustrated with 12 woodcuts by Frans Masereel in a binding by the Düsseldorf binder Carl Schulze (1861-1937). The text is August Vermeylen's version, translated by Anton Kippenberg in the Insel Verlag's 1923 2nd edition. The story is a very old one, and "concerns a Jew who taunted Jesus on the way to the Crucifixion and was then cursed to walk the earth until the Second Coming. The exact nature of the wanderer's indiscretion varies in different versions of the tale, as do aspects of his character; sometimes he is said to be a shoemaker or other tradesman, while sometimes he is the doorman at the estate of Pontius Pilate." [From Wiki] A 2019 article in The Moment points to the anti-semetic nature of the story and how it has been reclaimed, also noting the importance of knowing "who is using the term and why?"

The binding has plain endpapers, a gilt top edge, stuck on woven endbands, and appears to be cased with false raised cords (kind of like Hermann Nitz's "Kombination" Binding, the ur-fancied-up book. I acquired the book a) because I LOVE the woodcuts of Frans Masereel, b) was struck by the decorated paper and binding (very much representative of the aesthetic of German binding of the day), and c) because it was "signed" by the binder.

From an article in the British Bookmaker, vol 2, nr 17, November 28, 1888, Schulze worked with Zaehnsdorf [as a journeyman] for several years. In 1904, the Archiv fur Buchbinderei reports him moving his bindery from Schadowstr 28 to Adlerstr 6. Google Street Views shows that no buildings from the time survived... The firm operated under the name of "Carl Schulze, kunstgewerbliche Werkstatt fur Lederplastik, Buchbinderei, und feinere Lederarbeiten." This is a range of services comparable on many levels to that of W. Collin in Berlin. Carl Schulze was not a member of the Jakob Krause Bund (1923), but the bindery was a member of the Meister der Einbandkunst (1927), with Carl spelled as Karl. The "C" is an artifact of French influences in the Rheinland. Paul Kersten in his Die Buchbinderei und das Zeichnen des Buchbinders... (1909) describes the bindery of Hendrick and Karl Schulze as representative of the new generation of creative and innovative bookbinders.




Detail of the decorated paper, a mono print as taken through a 10x lupe with mm scale.
The numbered vertical marks are in mm. The image was taken with my cell.
You can see the structure of the paper and fibers as well as the ink. If the paper was
mass-produced and printed one might see artifacts from the screen/process.
Thank you to Susanne Krause / Hamburger Buntpapier for asking the question and identifying.

Geb[unden] bei C. Schultze, Düsseldorf.
Stamped at top corner of verso of flyleaf. 

Title page of Der Ewige Jude (The Wandering Jew), Insel Verlag, 1923. 2nd ed.

Woodcut by Masereel.

Woodcut by Masereel.

Saturday, March 28, 2020

Werner Kiessig, MDE aus der DDR

Ich bin immer auf der Suche nach interessantem zur Buchbinderei. In letzter Zeit sind gleich 3  Päckchen zu Werner G. Kiessig, Meister der Einbandkunst (MDE) in der DDR, hier eingetroffen. 

I was recently able to acquire some ephemera and sample books relating to the bookbinder Werner Kiessig who lived and worked in Berlin, Ost, but was also a member of the Meister der Einbandkunst (MDE), then a largely West German group that changed its name to "Meister der Einbandkunst – Internationale Vereinigung e.V." so that Kiessig could become a member.

Backing board for a calendar advertising Werner Kiessig's bindery, 1972
The calendar board and exhibition catalog artwork is by Werner Klemke who was very well known internationally
More examples of Klemke's illustrations can be found here or here
.

Kiessig wurde 1924 in eine buchbinderische Familie geboren - Der Grossvater gründete 1893 in Berlin eine Globusfabrik und Buchbinderei die sein Vater 1918 als industrielle Buchbinder übernahm. Kiessig machte seine Lehre bei Kurt Grünewald und studierte unter anderem mit Bruno Scheer an der Graphischen Fachschule in Berlin. Grünewald und Scheer waren beide Mitglieder der MDE. Er blieb in der DDR, machte 1948 seinen Meister im Buchbinderhandwerk, verpachtete die familiäre industrielle Buchbinderei und widmete sich der Einzel- und Sonderfertigung. 1956 wurder er als Kunstschaffender im Handwerk" anerkannt und später Mitglied im Verband Bildender Künstler wodurch er sich Vorteile verschafte und er die Erlaubnis bekam Mitglied der MDE zu werden auch weil MDE "Internationale" dem Vereinsnamen beifügten. Seine Arbeiten wurden international ausgestellt und er war aktive mit Veröffentlichungen und Vorträgen. Er starb 2014 in Berlin. Etwas zu Kiessig gibt es auch in dem Blog der Pirckheimer Gesellschaft in der Kiessig auch Mitglied war. 

Andere Aufsätze zu Werner Kiessig:

  • Werner Kießig. MDE-Rundbrief . 2013, Nr. 2: 10-11
  • Porträt, MDE-Ehrenmitglieder, Werner Kießig. MDE-Rundbrief . [2015], Nr. ?: 12-16
  • Der Meister der Einbandkunst Werner G. Kießig. Enthalten in Marginalien Bd. 225, 2017, Nr. 2: 93-95

Kiessig was born into a Berlin trade/industrial bookbinding family, served his apprenticeship in with Kurt Grünewald and studied with Bruno Scheer, both members of the MDE. After the war, he remained in what became the DDR. He earned his Meister in 1948. With his interests clearly in the hand/fine bookbinding side of the trade he leased the industrial side of the firm to focus on the other. 1956 he was recognized as a "Kunstschaffender im Handwerk," a "trade-based" artist, as well as being a member of the "Verband Bildener Künstler" and other cultural organizations. Because of these, he had greater freedoms to pursue his creative work and become active in international organizations such as MDE. He also joined Designer Bookbinders in 1981. He exhibited and presented widely, mostly in Eastern Europe. He died in 2014.

Alle drei Musterbücher | All three sample books

"Schriften, Linien, Ornamente" sind Musterbücher von einigen derselbigen, die man Kunden vorlegte. Hier Beispiele. Insgesamt, konnte ich 3 solche Bände erwerben, alle so aus dem Zeitrum zwischen den späten 50er bis in 70er. 

The sample books "Schriften, Linien, Ornamente" were used to give clients an overview of the type faces and stamps that could have been used on their books.











"Handeinbände," eine Ausstellung der Deutschen Staatsbibliothek von 1984 zeigt viele seiner einfallsreichen Einbände mit einer Vielfalt an Materialien. Bei vielen kann mann sehen wie er auch mit einfachen Materialien sehr ansprechende Einbände schuff.

Handeinbände was a 1984 exhibit of his bindings at the Deutsche Staatsbibliothek. He was best known for his "fine bindings," many of which were shown in the exhibit. In some of the examples one can see how he used simple and more available materials to create handsome bindings.

Auch sehr schön ist die Werner Klemke Zeichnungen auf dem Deckblatt des Katalogs.

Werner Klemke also contributed the cover design of the catalog.







Sunday, February 24, 2019

A Fairy Tale for Bookbinding Apprentices

And now, another story about a "bone folder," this time a fairy tale that contains many autobiographical references to bookbinding training, the trade, and education as they might have been experienced in the first half of the 20th century...


 The Wise Bone Folder – A fairy tale for bookbinding apprentices

By Schlaghammer [Franz Weiße*, 1878-1952].
Originally published as "Das kluge Falzbein" in Der Buchbinderlehrling, Vol 16, Nr 2, 1942 (12-14).
Translation by Peter D. Verheyen, 2/2019


Meister and apprentice (They started very young)
Vom Buchbinderlehrling zum Buchbindermeister: Eine Einführung in das Buchbinderhandwerk,
Berlin: Reichsinnungsverb. d. Buchbinderhandwerks. 1941.

Once upon a time, at the beginning of his apprenticeship, Franz was given a very common bone folder by his Meister. Franz didn’t think much of this bone folder. For a tool that was never to leave his hands when folding, it felt hard and unfamiliar. Over time, Franz became accustomed to the Bone Folder, and grew so attached to it that he didn’t ever want to lose it. This pleased the Bone Folder immensely, and they became close friends, conversing regularly. It was then that the Bone Folder began to realize how foolish Franz really was, and how much it could help him grow as a binder. Once Franz said to the Bone Folder, “what will become of me if don’t want to become a bookbinder, but rather a book seller? And then, what would I do with you my dear Bone Folder?” Upon this the Bone Folder answered, “don’t start talking nonsense, you will become a bookbinder!” Two years later, Franz asked a similar question. “What is to become of us? I mean, I can bind books now, but maybe I shouldn’t have become a bookbinder?” “Enough,” responded the Bone Folder, “you’re just at the beginning of your life in this wonderful profession of bookbinding! We will leave this place and move on to other cities and Meisters. It is then that you will discover what you really know, and what you still need to learn. Now!” … But, Franz still hesitated. “What do you know already about being a bookbinder?” the Bone Folder continued. “Get away from here, and I’m coming with you! I will take good care of you, and make sure that you will become a real, competent bookbinder. You will even become famous!” This made Franz break out in laughter, “what is that, a famous bookbinder…?

The bindery and book cover factory Hübel & Denck, 1895.
Weisse worked there in their extra-binding department.
Hübel & Denck also published the Monatsblätter für Bucheinbände und Handbindekunst (1924-28),
a monthly newsletter with articles by and for bibliophiles that Ernst Collin wrote for as well.
Each issue had its own distinctive typographical design and often included samples of materials

After completing their apprenticeship, Franz and the Bone Folder began their Journeyman years wandering from bindery to bindery throughout the land. Franz depended on the Bone Folder to help put food on the table, and that was just fine with the Bone Folder. Franz, however, liked heartier fare, so the Bone Folder had to work hard to earn its keep. In doing so, both came to the realization that one really needed to make beautiful bindings to put that fare on the table. They had already worked for three Meisters where they had the opportunity to work on so-called better bindings that they referred to as quarter-leather extra-bindings. But, from these alone one would not be able to “live in luxury” the Meister said. Next they went to a “factory,” a large trade bindery where only new books were bound. These were blank except for the words “My Diary” on the first leaf. This was nothing for them. There were also far too many people working in this factory, and way too much noise that came from the wire binding machines. At this, the Bone Folder suggested attending an arts & crafts school where bookbinding was taught to students who were working towards their Meister’s certificate, and where one could learn the finer points of the trade such as gold tooling and finishing. They would certainly be able to offer guidance on the best path to binding beautiful books. These schools existed in many cities like Berlin, Breslau (Now Wrocław), Hamburg, Munich, Weimar, … And so, Franz and the Bone Folder enrolled and completed their studies, knowing far more about making beautiful books than they did before, and they were proud of their work. Franz now wanted to use his Bone Folder on full-leather extra-bindings! But, life is often unfair, and they were unable to gain entry in binderies where they could apply what they had learned. Everywhere they went they were turned away with a laugh when they brought up their desire to work on these full-leather extra-bindings. Journeymen were never given those creative fine bindings to work on – that was something the Meister reserved for themselves. And, if there happened to be only one Meister in the shop, especially one who wasn’t up to snuff but still bragged about themselves, they might have kept their own journeyman who could complete that kind of work. But, a Meister like that was nowhere to be found. Eventually, in a “factory” for hymnals, they were able to see how the many books received their shiny gilt edges. They stayed there for a while, surreptitiously looking over their colleagues shoulders and working as hard as they could until there was nothing left to learn there. Even if the work was not what one was interested in, there were always things (even little things) to learn, and just as importantly, what not to do.

Schematic for an attaché case, something bookbinders made in leather goods factories.
From Der Buchbinderlehrling, Vol 11, Nr 6, 1937

Franz always kept the Bone Folder in top left pocket of his white lab coat. When it was not working, the Bone Folder had an ideal perch from which to observe what was happening around it, and to learn. This made it even wiser than it was already. Next, they came to a workshop that specialized in stamping and blocking, and where all they did was stamp gilt ribbons with the words “rest in peace” on both sides. This was very boring work, especially in the long term. Leaving there, they went to another town where the Meister was rude, Franz did nothing but marble, and the Bone Folder had nothing to do… That just wouldn’t do. Finally, they came to a Meister finisher who worked on leather goods such as portfolios, purses, and wallets. Franz worked like a dog in the finishing department there, becoming regarded as an artist among the skilled leather workers. Finally, satisfying work, and the Bone Folder got to mark the lines that France would gild. Both were very happy working there together, and Franz even thought he might want to become a leather goods “baron.” Even the Bone Folder became so excited at that prospect that it imagined itself in a frame hanging over Franz’s desk, admired by all of his friends.


Students in the trade and arts & crafts schools learning the making
of decorated papers (pastepaper and marbling)
From Heinrich Lüers,
Vom Buchbinderlehrling zum Buchbindermeister Eine Einführung in das Buchbinderhandwerk,
Berlin: Reichsinnungsverb. d. Buchbinderhandwerks. 1941.

However, things turned out very differently. Because the Bone Folder was there with Franz when he visited the art schools to learn drawing and study art, it realized that there was a much better future ahead for Franz than playing the leather goods “baron.” The thought of resting in a frame ultimately did not interest the Bone Folder, either. Work, that was what it was meant to do. They ended up in THE city of books, Leipzig where Franz was able to establish himself as a fine binder, and where they created many fine bindings of his own design together, just for the joy of it. Briefly, they even considered emigrating to England because they could find real bibliophiles there. The Bone Folder was able to talk Franz out of emigrating, telling him that he never liked the English anyway, and why would he want to be among them… “Well” said dear Bone Folder, “we’ll stay in Germany and do well here.”

Continuing professional development of apprentices and journeymen
happens in the trade and arts & crafts schools...
From Heinrich Lüers,
Vom Buchbinderlehrling zum Buchbindermeister Eine Einführung in das Buchbinderhandwerk,
Berlin: Reichsinnungsverb. d. Buchbinderhandwerks. 1941.

After a while, the two of them became restless again, and no one knows who put the bug in their ears – “Franz, you must become a teacher at one of these vocational schools!” “Yes” said the Bone Folder, “of course!” and Franz chuckled. “And…,” continued the Bone Folder, “you can even become a professor.” “A professor of bookbinding?” No said Franz, there is no such thing anywhere in the world.” But it did happen and Franz was appointed “professor” of bookbinding at one of the leading arts & crafts schools.

Workshop of the Staatl. Kunstgewerbeschule Hamburg where Weiße taught 1907-1942.
More at Kunstgewerbeschule Hamburg.

Many years passed for them there as they taught and fussed over each other, and the next generation of bookbinders. Everywhere, at each bench, and to each student, the Bone Folder dispensed wise words when it demonstrated a turn-in, a well-formed headcap, “if you don’t pay attention to how your professor did it, you will never make it out in the real world. You do want to become teachers some day, don’t you? Don’t make me laugh, you think you can call it done with a little bit of gold tooling? Anyone can learn how to do that if they have the tools, and you seem very pleased with yourselves, and how you use them.” The Bone Folder went on, “there’s so much more to it including how to maintain your tools in top condition and use them safely. The Meister knows all of you, and can make you the best that you can be. The lazy ones among you he will let fall behind... That’s why he is the teacher and Meister, and was appointed as professor!” Oh, this Bone Folder… What it had once prophesied had come to be. But, the Meister students thought Franz had them to thank for his position and honors. They were the best among the best! The foolish ones among them didn’t understand what was going on...”

Franz Weisse, Ernst Klette (publisher), Otto Dorfner, Hugo Wagner
The jury for the annual Buchbinderlehrling binding competition for apprentices
From Der Buchbinderlehrling, Vol 12, Nr 5,1938.

Again, years went by teaching and binding, giving lectures about art and technical nuances, all things that go along with being a professor in one’s métier. On the side, Franz and the Bone Folder created more than two-hundred fine bindings together, each unique, valuable, and highly regarded.

Binding by Franz Weiße, on Jesus und Johannes, 1930.
From Otto Fröde, Franz Weisse, 1956.

During those sessions in the workshop, there were many occasions when the students used the Meister’s tools, thinking they would be able to create better work than if they used their own. The Meister let them believe that, and even let them use his bone folders so that these became used to the hands of others. This scared the wise Bone Folder. “If you keep on like this you won’t have any tools soon. Don’t ever let me leave your hands!” Franz replied, “oh, let them think my tools are theirs and that they can create better work with them than with their own tools. Everyone strives to improve...” “Well said,” said the Bone Folder, “but not with your tools…” “My dear Bone Folder,” said Franz, “that’s true, but apparently my tools can bring rewards to others. That’s why I let them go like that, just as they once came to me.”

Professor Franz Weiße observing his student Martin Lehmann gold tooling by hand.
Der Buchbinderlehrling, Vol 11, Nr 11, 1938.

Soon after, the wise Bone Folder itself disappeared without a trace. This made the Meister very sad and depressed, so much so that he never wanted to create another masterpiece. He didn’t even want to teach anymore. His treasure had gotten away from him, and with it his love of his fine craft. The Meister had become old and even superstitious. His hair grayed, his vision deteriorated so that he saw his gilt lines double, and his hands shook when he held the type-holder over the stove.. He rubbed his hands over his eyes and dreamt that the wise Bone Folder was still in his pocket where it had always rested. In his dream it spoke to his heart, “don’t be sad great Meister. You shared your talents before they could leave you, and your generosity was so great that you even let me go. Now, I still shape beautiful headcaps, but in someone else’s gentle hands. You still live though. Rise up, and continue to tell all the stories you told me. Then I will be with you in spirit and can help you. Your pen is your new tool now.”

This made the Meister perk up. Once again, the wise Bone Folder was right. Everyone has something to share and pass on. Meister Franz’s gifts will enable others to sustain themselves. He will keep nothing to himself until he closes his eyes for the last time, and then he will go, satisfied to have lived for his art and craft, and those that practice it.

[Do you still have your first bone folder? Did it help guide you in your career? Was it as wise and snarky?]

My first bone folders: The top given to me when I started in this field as a
work-study student in Conservation and Preservation at the Johns Hopkins University Library (1981).
The bottom when I began my apprenticeship at the Kunstbuchbinderei Dietmar Klein in Gelsenkirchen, Germany (1985).


Franz Weiße (1878-1952) was one of the most noted German binders of the first half of the 20th century. He grew up as the son of a policeman and began his apprenticeship at age 14 as was traditional. According to Fröde (Franz Weisse, 1952) and the obituary that appeared in Das Falzbein (Vol 5, Nr. 3, 1952), his apprenticeship took place in a trade bindery in which boxes of all sorts and picture framing were part of the daily flow of work in addition to binding of hymnals, notebooks, and the like. When not working on what needed to be done, he was encouraged to follow his own interests including working on his own designs, drawing, binding, where he was described as willful. Following his apprenticeship he spent his journeyman years wandering throughout Germany to work in a wide variety of binderies, many of them referenced in his "fairy tale." His first attempt at enrolling in an arts & crafts school did not go well as they pushed a curriculum based on technical proficiency and traditional design, whereas he was more innovative, also described as willful. His relationship with Hans Dannhorn who taught finishing there grew into a friendship over the years and opened doors for him, at Hübel & Denck in Leipzig where he worked as a fine binder in their extra-binding division. During this time, he was drawn to the ideals of the English arts & crafts movement as exemplified by William Morris. In 1903, he became teacher at the school in [Wuppertal] Elberfeld where he taught all levels of binding, but also himself took classes in drawing to further develop his skills. His favorite students were those more "mature" ones working towards their Meister, something that had again become required in order to open one's own bindery and train apprentices. Weiße it is revealed never formally completed his apprenticeship or journeyman certificates...

In 1905, he followed the director of the school in Elberfeld to Hamburg that was in the process of reorganizing its arts & crafts school, and Weiße became the chair of the bookbinding program. He was to remain there until 1942 when he retired... During his tenure, he developed what became to be known as the Hamburg style. Among his students were Ignatz Wiemeler (who taught for those in US Fritz Eberhardt, Gerhard Gerlach, and Kurt Londenberg, the latter teacher the of Frank Mowery) and Heinrich Lüers were his students among other, and many went on to lead the bookbinding programs, with Wiemeler Weiße's successor in Hamburg and Lüers in Magdeburg. The latter went on to write one of the most comprehensive binding manuals in the German tradition.

In addition to teaching, Weiße was a founding member of the Meister der Einbandkunst (along with his friend and mentor Dannhorn among others) and was co-editor of Der Buchbinderlehrling, THE journal for bookbinding apprentices where he wrote under his own name and the pseudonym Schlaghammer ([paper]-beating hammer, something he had to learn to do as an apprentice). In 1942 he became co-editor of Das Deutsche Buchbinderhandwerk, successor to the Allgemeiner Anzeiger für Buchbindereien. He was also the author of several manuals on marbling, including Die Kunst des Marmorierens oder Die Herstellung von Buchbinder-Buntpapieren mit Wasserfarben auf schleimhaltigen Grund (1940), translated as The Art of Marbling by Richard J.Wolfe (Bird & Bull, 1980),& Mein Kampf mit der Ochsengalle (My Struggle with Oxgall, 1938), and Der Handvergolder im Tageswerken und Kunstschaffen (The Finisher in Daily Work and While Creating Art, 1951).

Like all binders and teachers of his era, Weiße, Lüers, Wagner, Dorfner ... worked in a system where the schools and organizations of all kind were ideologically controlled by the Nazi party to include the indoctrination of students, including expressing that ideology through their work. In his introduction to The Art of Marbling Wolfe speaks to that aspect as well. Der Buchbinderlehrling was certainly full of this indoctrination as the trade-schools were charged with developing well rounded individuals including subjects like "social studies" beyond the specific trade. Published in 1942, I expected "Das kluge Falzbein" (The Wise Bone Folder) to include such references, but was pleasantly pleased that it did not. Biographies of binders such as Dorfner and Weiße who were active during this time, most written in the 1950s, do not address this period except in the most general terms and often with references to bombed-out workshops, and certainly do include images of works expressing Nazi ideology. How strongly individuals identified with this ideology is not always discernible. It could have been accommodation in order to feed a family, or pure opportunism and careerism. Otto Dorfner is interesting in this regard as he was one of the favorites (see also Hitler's Bookbinder about Frieda Thiersch), stayed in Weimar in the Soviet Occupations Zone / DDR after the war, and continued to serve his masters with his work. Lüers' Das Fachwissen des Buchbinders appeared in multiple editions both during and after, and Vom Buchbinderlehrling zum Buchbindemeister (1941) published by the Reichsinnungsverband des Buchbinderhandwerks gives a sense of this. It is interesting to see how those references were expunged in post-war editions. Another example was Zechlin's Soldaten Werkbuch für Freizeit und Genesung (1943), in which the title was changed on the binding only to Jungens... More towards bottom here.


A thank you to Karen Hanmer for her contributions to making my translation of the tale better.

Sunday, August 26, 2018

Binding Designs By Paul Kersten and Paul Klein

German binding manuals and related books of the first third of the 20th century often featured ideas and designs for bindings to instruct and to serve as a source of inspiration. For examples see Designing Spines and Paul Kersten's Decorative Leather Work.

Paul Kersten's (1865-1943) and Paul Klein's (1894-1968) Vierzig neuzeitliche Entwürfe für künstlerische Bucheinbände (Halle: Verlag Wilhelm Knapp, 1928) featured 20 designs each by two masters of the craft, noted teachers, and fine binders who both helped define design in the field. The "book" was issued in the form of plates printed on heavier newsprint-like paper in a wrapper. The table of contents indicated the finishing technique, e.g. blind or gold. The binding designs were printed on very thin glossy paper. The wrapper and layout were designed by Paul Klein. My copy of the text had been bound by attaching the (now rather brittle) plates to stubs and over-trimming the textblock. I'll blame the apprentice. A copy as issued (below) is/was available from my favorite dealer in Germany via eBay It is also available in facsimile.

Kersten who studied with Georg Collin (at W. Collin) was the teacher of  notable students including Otto Dorfner and Otto Pfaff, both of who Collin also wrote about in articles.others). He followed Maria Lühr as teacher at Lette Verein, and was recognized as one of the greatest finishers of his generation, and was the subject of a Festschrift written by Ernst Collin. In 1904, Kersten also published Moderne Entwürfe künstlerischer Bucheinbände, The book was serialized in 6 installments of loose plates, much like the book depicted below.

Paul Klein began his studies and apprenticeship at the Bauhaus (1921-22) under Dorfner where he led the binding workshop, and continued on with Dorfner as a journeyman after Dorfner left the Bauhaus. He later led the hand-binding division of Th. Knaur in Leipzig (a large firm) and subsequently went to work as a binder and designer at Hübel & Denck, also in Leipzig. According to Otto Dorfner: Zwischen van de Velde und Bauhaus (Halle/Weimar, 1989) edited by Mechtild Lobisch Kleins trail ends in the mid-thirties in Munich where he is said to have worked for a publisher.

As issued, image from Museo Nacional de Artes Decorativas

Wrapper by Paul Klein

Design in gold Paul Kersten

Design in blind by Paul Kersten

Design in blind by Paul Kersten

Design in blind by Paul Kersten

Design in gold by Paul Klein

Design in blind by Paul Klein

Design in gold by Paul Klein

Design in gold by Paul Klein

More images from the book can be found via Europeana, here and here.

Below some actual bindings by Kersten and Klein from the Archiv für Buchbinderei, 1928.

Bindings by Paul Kersten, member of the Jakob-Krause-Bund (J.K.B.)

Bindings by Paul Klein, member of the Jakob-Krause-Bund (J.K.B.)