Bookbinding and Ideology

On the Print blog (3/10/17), Steven Heller wrote a piece titled "Normalized Letterheads":

By 1936 the Nazis were firmly in place in all aspects of government, society and culture. Gleichschaltung was the term for standardizing or normalizing the Nazi aberration. It meant that every aspect of the Third Reich followed the dictates of the ideological wing of the state and party. These innocent-looking letterheads, void of political references, were examples of that Gleichschaltung imposed on the design and printing industries.

This Gleichschaltung was applied uniformly across all media, trades, social organizations, ..., aligning and subordinating all to the dictates of the state in all regards. Indoctrination started in the schools, youth organizations, and trade schools that all apprentices attended. Der Buchbinderlehrling (The Bookbinding Apprentice) was the journal for apprentices with subjects included social studies, math, and science as they related to binding. This also included paper making, leather tanning and parchment making, cloth, and in-depth engineering of bookbinding machines. During its run from 1927-1943 one is struck by how insidiously this Gleichschaltung progressed in the years after 1933, with the apprentices thoroughly indoctrinated so that there was no longer any difference between the trade and ideology. In the same vein the teachers at the trade schools/art academies were required to be party members, especially if civil servants, joining either out of conviction or expedience in some sort of Faustian bargain...

Typography for book titles from Der Buchbinderlehrling, Vol. 9, Nr. 7, 1935.

While some of title designs may seem "innocent looking," this ideological aesthetic was applied not only to bindings, but also presentation materials, desk accessories, just about everything bookbinders made forcefully, with many examples in the trade literature of the time. Prominent among these was Hitler's Mein Kampf.

Under the pseudonym “Nicolli,” Ernst Collin wrote in Der Buchbinderlehrling what can best be described as a tragic review of 1933’s national bookbinding competition on Hitler’s Mein Kampf. He wrote that in binding this book the German bookbinding trade could demonstrate its commitment to Hitler and to taking on the challenges and demands that lay ahead. The trades, publishing, social organizations, and just about every other aspect of life were quickly brought to reflect the party line under “Gleichschaltung.” As a “servant” of the arts and crafts, bookbinding was given a special standing, and binding Mein Kampf in a dignified and appropriate manner was a way to demonstrate this standing. To demonstrate the new collective mindset, the names of none of the participants or winners were mentioned. Stating that this was not the place to describe individual bindings, he went on to write that given the nature and importance of the book it was clear that many of the bindings would include the black, white, and red of Imperial Germany and the Third Reich, with the swastika a key element. However, Ernst noted also that including these elements did not make for good design that would inspire and demonstrate respect. He concluded that the book could not become a playground for overwrought designs and gimmicks, challenging binders to think about and prepare themselves for increasing amounts of this kind of work. ([Nicolli]. “Ein Zeitgemäßer Wettbewerb.” Der Buchbinderlehrling, Vol. 7, Nr. 12, 1933. (167-168))

While no images from the 1933 bookbinding competition were found in Der Buchbinderlehrling, below two, one by an Martin Lehmann, an apprentice/student of Franz Weiße, and one by a master and one of the leading teachers of the day (Professors at art academies and trade schools), Hugo Wagner.

Martin Lehmann's apprentice/student binding on Mein Kampf.
From Der Buchbinderlehrling. Vol. 10, Nr. 6, 1937.
In the article the image accompanied he described his motivations and design choices a "flag red" leather for the  binding, white type, and black for the eagle, all based on the Nazi flag. About the eagle he wrote that it was based on the Luftwaffe insignia because it was more "dainty," yet aggressive and full of life, ready to take up the fight against all that is false...

Martin Lehmann with Franz Weiße
From Der Buchbinderlehrling. Vol. 11, Nr.11, 1938.

Binding by Hugo F. Wagner, Breslau, on the occasion of his 25th anniversary as a teacher.
From Der Buchbinderlehrling. Vol. 10, Nr. 12, 1937.

Bindings by Hugo Wagner from Vom Buchbinderlehrling zum Buchbindemeister (1941)

Otto Dorfner, Weimar, was another one of the leading teachers during this time, and will be featured in due time, also because he remained in the Soviet occupation zone (the DDR) after the war and continued working. One of Germany's greatest design binders, he studied under Paul Kersten, founded his school in Weimar, taught at the Bauhaus, and elsewhere, helped found the Meister der Einbandkunst... Below another binding on Mein Kampf by one of his students, Willi Fischer.

Binding by Dorfner student Willi Fischer on Mein Kampf.
From the Allgemeiner Anzeiger für Buchbindereien, Nr. 27, 1936.

Another teacher was Heinrich Lüers, Magdeburg, best known for Das Fachwissen des Buchbinders that appeared in several editions, including one postwar with a new introduction by his Gustav Moessner. It is very interesting to compare the editions, especially as the politically charged ones have been scrubbed out. Lüers also edited Vom Buchbinderlehrling zum Buchbindemeister (1941) for the Reichsinnungsverband des Buchbinderhandwerks (the national bookbinding guild), a pamphlet produced by the BDBI describing the trade and requirements designed to attract new apprentices and others. Like Lüer's book, this too was republished after the war in a sanitized edition. After all, why waste an otherwise significant text, and Das Fachwissen is one of the best of its genre and incredibly comprehensive.

Lüers concluded his pamphlet by stating that during the (still rather young) war, bookbinding had proven itself to a secure trade, and able to withstand any crisis and serve the German people. He ended with a quote by Hitler praising the German trades...

Below, Franz Weiße (Wiemeler's teacher), Erhard Klette, Otto Dorfner, and Hugo Wagner jurying the 1938 apprentice competition. Dorfner and Wagner appear to be wearing party insignia on cravat and lapel, and Klette was an influential publisher in the field, including the Archiv für Buchbinderei and the Jahrbuch der Einbandkunst.

Franz Weiße, Erhard Klette, Otto Dorfner, and Hugo Wagner jurying the 1938 apprentice competition.
From Der Buchbinderlehrling, Vol. 12, Nr. 5,1938.

See also this post about Frieda Thiersch's similar work during this period, "Hitler's Bookbinder." Her biography, Frieda Thiersch und ihre Handbuchbinderei (1968), by Fritz Krinitz mentions little and illustrates even less of her work from this period.

So, imagine if this scenario were to return... No, let's not go there.

Neuere Pressbengel Auflagen | Later Pressbengel Editions

Der Pressbengel von Ernst Collin erschien 1922 in einer Auflage von 1000 normalen Exemplaren, und  30 Exemplaren auf Zandersbütten die handschriftlich signiert und numeriert wurden.

Ab 1984 wurde Der Pressbengel vom Mandragora Verlag in mehreren illustrierten Auflagen mit Einleitung von Gustav Moessner neu herausgegeben. Größe der ersten Auflage war 1000 Exemplare, von der 150 Exemplare als Edelpappband mit handgemachtem Buntpapier, 500 Exemplare als Pappband und 350 in losen Bogen zum Einbinden erschienen. Die zweite Auflage erschien 1989 in 1000 Exemplaren. Illustriert wurden diese Auflagen von Leopold Reiser. Von der dritten Auflage von 1992 mit Illustrationen von Andreas Raub fehlen die Angaben zu der Anzahl von Exemplaren. Es gab auch eine „Geschenkauflage“ basierend auf der 2ten Auflage, wie die zum 25ten Jubiläum der Buchbinderei Hans Ehe.

Ernst Collin's Pressbengel first appeared 1922 in a regular edition of 1000 copies, and 30 signed and numbered copies on Zanders rag paper/

Beginning in 1984, the Pressbengel was republished by the Mandragora Verlag in several illustrated editions with introduction by Gustav Moessner. Size of the first edition was 1,000 copies with 150 copies bound as millimeter bindings with handmade decorated papers, 500 bound in paper case bindings, and 350 left unbound for binders. The 2nd edition was published with 1,000 copies. These were illustrated with drawings by Leopold Reiser. There was no indication of size for the 3rd edition illustrated by Andreas Raub. The text was also available in a promotional “give-away” edition based on 2nd edition of 1989 for clients such as that made for the Buchbinderei Hans Ehe on the occasion of its 25th anniversary.

Links, Einbande für die regulären Mandragora Ausgaben, rechts Sondereinband für die Buchbinderei Hans Ehe.

Binding at left for the regular Mandragora editions, at right in the binding for Buchbinderei Hans Ehe.

Titelblatt und Abbildung für Vergoldung aus der ersten [und 2.] Mandragora Ausgabe, Leopold Reiser illus.

Title page and illustration for “finishing” from first [and 2nd] Mandragora edition, Leopold Reiser illus.

Titelblatt und Abbildung für Vergoldung aus der dritten Mandragora Ausgabe, Andreas Raub illus.

Title page and illustration for “finishing” from third Mandragora edition, Andreas Raub illus.

Kolophon der ersten Ausgabe

Colophon of the first edition

Beim Erscheinen von Die Collins hatte ich leider kein Exemplar der Vorzugsausgaben vom Mandragora Verlag und Josef Weiss finden können. Jetzt aber habe ich sie!

When The Collins appeared I had not been able to locate copies of the deluxe editions from the Mandragora Verlag or Josef Weiss. Now I have them!

Edelpappband für die Vorzugsausgaben aller Auflagen.
mit Lederschienen an Ober- und Unterkante und Öltunkpapier. Dieses Exemplar #16 der 1. Auflage.

"Millimeter" binding for the deluxe editions with leather trim at top and bottom,
and marbled paper using oil paints. This example #16 from the 1st edition.

Der Pressbengel wurde 1996 von Josef Weiss als Dal Rilegatore d’Arte mit Abbildungen aus verschiedenen historischen Fachbüchern ins Italienische übersetzt. Größe der Auflage war 1000 Exemplare, davon 400 als Pappband, 100 in Leder gebunden, und 500 in losen Bögen zum Einbinden.

The Pressbengel was translated into Italian in 1996 as Dal Rilegatore d’Arte with illustrations drawn from various historic bookbinding manuals. Size of the edition was 1,000 with 400 copies bound in paper, 100 bound in leather, and 500 copies left unbound for binders.

Die reguläre italienische Ausgabe von 1996.

The regular Italian edition of 1996.

Doppelseitenansicht zu Vergolden.

Page spread for "finishing."

Kolophon | Colophon

Die italienische Vorzugsausgabe von 1996, dieses Exemplar #100.
Geheftet auf Pergamentriemen mit Lederrücken und Papier bezogene Deckel.

The Italian deluxe edition from 1996. This copy #100.
Sewn on parchment slips with leather spine and paper covered boards.

The Bone Folder on Jeff Peachey's Blog

Thank you to Jeff Peachey for the opportunity to answer some questions regarding my translation of Ernst Collin's Pressbengel as The Bone Folder.

Peter answered three questions about this project:
1. Why did you call this The Bone Folder?
2. What do you see as the role of tools in this work?
3. Why should someone purchase this limited edition when you have already released a version online for free?

Read my full responses on his blog here.

 And, if you're not following his blog, consider doing so for interesting posts about the history and craft of bookbinding, tools, and more...

 

The Bone Folder: Prospectus Available

PROSPECTUS FOR
THE BOSS DOG PRESS LIMITED EDITION OF

The Bone Folder

A Dialogue Between

an Aesthetically-Inclined Bibliophile

and a Well-Versed-in-all-Aspects-of-the-Craft Bookbinder

By Ernst Collin

Translation from the German and Introduction by

Peter D. Verheyen

Illustrated with photographic images by

John (Hans) Schiff

Download the full prospectus in PDF form here,
write to the Boss Dog Press to request a printed copy,
or see the Press' site for more information.

The Boss Dog Press is very pleased to present this prospectus for its most ambitious project to date: a handpress edition of Ernst Collin’s didactic dialogue about bookbinding entitled The Bone Folder. Originally published as Der Pressbengel in Berlin in 1922, it was first translated into English by Peter Verheyen beginning in 2008, and published in the Guild of Book Workers’ Journal in 2009. Peter later made it available online as a PDF through this Pressbengel Project blog.

Prior to its commitment to undertake the Bone Folder project, the Press had been granted access to a series of photographic negatives and contact sheets of the hand bookbinding process which had been taken in Germany in the late 1920’s or 1930’s. The photographer, Hans Schiff, fled Germany and spent the rest of his professional photographic career in New York City working as John Schiff. During discussions between Peter Verheyen and Don Rash about the design of this edition, the fact that the Schiff photographs were roughly contemporary in both time and location to the text led to the realization that they would be the perfect illustrations for the book. The Press is deeply indebted to Sibylle Fraser for allowing the use of these photographs.

These photographic images come from a collection of 34 negatives taken by Hans Schiff sometime after 1920, and document the pulling (taking apart) and rebinding a copy of the Bremer Presse Faust with that date on the spine.

Proof of images for book. More here.

An image was chosen to accompany each of the six days’ dialogues. The photographs do not necessarily relate directly to each daily subject; rather, they illuminate the progressive nature of the hand binding process. The images are presented at their original size of 110mm by 80mm and include the edges of the negatives. In addition to the six primary images there is a portrait of the young Hans Schiff. Unfortunately there do not seem to be any extant pictures of the author, Ernst Collin. The photograph used for this prospectus is an additional image not used in the book. The photographs have been scanned and digitally printed onto Canson Rag Photographique paper by Light Works, a non-profit photography organization based at Syracuse University.

About the Edition
As with the previous Boss Dog Press titles, The Bone Folder will be printed on our Morgans & Wilcox Washington handpress. The edition will consist of 120 copies, with 100 copies available for purchase. The paper for the book will be mouldmade Hahnemühle Biblio, chosen to show the digital Monotype Walbaum type to best advantage. Typesetting has been done here at the Press using Adobe InDesign, and plate processing will be provided by Boxcar Press of Syracuse, New York. The titling font is the second iteration of the Boss Dog Press FritzGotische, a fraktur face created by Don Rash in memory of the late Fritz Eberhardt, calligrapher and bookbinder extraordinaire. The page size is 9” x 12”, and echoes the 3:4 proportions of the seven tipped-in photographs. The frontispiece is a facsimile of the original 1922 Pressbengel title page, printed letterpress. This prospectus is presented in the same format and materials as the edition in order to give interested parties an idea of the look and feel of the finished books.

About the Bindings
Of the 100 copies for sale, 54 will be case bound in full pastepaper over boards and will be distinguished by Arabic numeration (1-54). The case bound copies will be hand sewn over linen tapes with sewn-on endpaper sections for durability and strength. Titling for these books has yet to be decided. There will be 26 copies (A-Z) bound in quarter leather with pastepaper boards, titled in gold on the spines. The leather bound copies will be hand sewn over flat cords, with which the boards will be attached; the sewn-on endpaper sections will have leather inner hinges. All of the 80 bound copies will be housed in pastepaper covered slipcases. The remaining 20 copies will be offered in signatures for bookbinders and will receive Roman numeration (I-XX).

The edition in production. More images here.

Prices and Ordering
Prices for The Bone Folder are as follows:

• Unbound copies: $300
• Paper case copies: $450
• Quarter bound copies: $600

All books will be shipped via Priority Mail for $15. Standing order customers receive the usual 20% discount plus free shipping; dealers receive 30% discount. Orders may be made using the included order form; by emailing bossdogpress@donrashfinebookbinder.com; or by phoning 1-570- 239-8643. The Press accepts checks, credit cards and PayPal to bossdogpress@donrashfinebookbinder.com.

Download the full prospectus in PDF form here,
write to the Boss Dog Press to request a printed copy,
or see the Press' site for more information.


The Boss Dog Press is online here.

Die Collins / The Collins Online!

Die Collins | The Collins

Geschichte und Bibliographie | History and Bibliography

 

Arbeit an der Geschichte von W. Collin und der Bibliographie der Schriften von Ernst ist jetzt auf Deutsch und Englisch abgeschlossen. Die bibliographische Aufzeichnung von Ernst Collins Schriften ist auch auf diesem Blog (oben) einsehbar mit Link zu einer Tabelle die zu digitalisierten Versionen bei HathiTrust von vielen der Schriften führt. 

Die Collins: W. Collin, Hofbuchbinder & Ernst Collin, der Autor des Pressbengels (126 Seiten, 60+MB, https://works.bepress.com/peter_verheyen/46/download). 

Work on the history of W. Collin and bibliography of the writings of Ernst has been completed in German and English. The bibliographical listing of Ernst Collins writings found to date is available on this blog (above), with link to a spreadsheet linking to HathiTrust and other sources.

The Collins: W. Collin, Court Bookbinders & Ernst Collin, the Author of the Pressbengel (126 pp, 60+MB, https://works.bepress.com/peter_verheyen/45/download).

Deutsch

Die Collins: W. Collin, Hofbuchbinder & Ernst Collin, der Autor des  Pressbengels
Hier zum Download
https://works.bepress.com/peter_verheyen/46/download

English

The Collins: W. Collin, Court Bookbinders & Ernst Collin, the Author of the Pressbengel
Click to Download
https://works.bepress.com/peter_verheyen/45/download

Colliniana 2016 - Ernst Collin Updates

As in the past 4 years, on May 31st, Ernst Collin's birthday (This would have been his 130th) I share updates from my research and findings into his life and work. The past year has seen some good activity.

Wie in den 4 vergangenen Jahren gebe ich am 31. Mai zu dem Geburtstag von Ernst Collin (dies wäre sein 130. gewesen) eine Jahreszusammenfassung von Funden und Fortschritten an meinem Projekt über die Collins. In diesem Jahr war recht viel los.

The Boss Dog Press Bone Folder
Boss Dog Press Pressbengel auf Englisch

Most significant is the starting of production for the Boss Dog Press' letterpress edition of Ernst Collin's The Bone Folder, illustrated with images depicting the binding process. Images were selected, and these are now being printed digitally at Light Work, a non-profit photography organization based at Syracuse University. For the edition, that means 8 images (6 "days"of dialog, a portrait of John (Hans) Schiff, and another image from the binding series for the prospectus) printed 120 times each... That's a lot of cutting. The edition will be available in a regular paper case,  deluxe quarter leather, and sheets for binding. In addition to the photographs, the text features a new introduction correcting "errors" about Ernst Collin's identity and providing context for his original text in the form of an abbreviated history of the firm of W. Collin and his family. While we are still working out details, I can say that those pre-ordering the deluxe edition will also received a printed copy of the history and bibliography in English. As an aside, the blog header makes use of Don Rash's BDP FritzGotische hand-calligraphed type face, originally created for his Three Lectures, and used again in this fine press edition of the Bone Folder.

For more information about pre-ordering..., please contact the press at bossdogpress@donrashfinebookbinder.com.

Am bedeutendsten ist der Anfang von der Produktion des Pressendrucks meiner Übersetzung Ernst Collins Pressbengel von Don Rashs Boss Dog Press. Diese hat mit dem Druck der Aufnahmen von John (Hans) Schiff begonnen. Die Aufnahmen wurden digital geduckt bei Light Work, ein gemeinnütziger Verein für Photographie an der Syracuse University wo ich auch arbeite. Für die Auflage werden 8 Bilder (6 "Tage" Buchbinderei, ein Bild von Schiff, und eins fürs Prospekt) wurden 120 gedruckt. Das wird viel Schneiden bedeuten, wird aber Dank Vorplanung nicht so schlimm. Die Auflage wird es als Pappband, halb-leder Einband, und in Lagen zum Einbinden geben. Zusätzlich zu den Aufnahmen hat diese Ausgabe auch eine neue Einleitung die "Fehler" zum Leben Ernsts aus der ersten Auflage korrigiert, sowie eine gekürzte Geschichte der Familie und W. Collin. Details gibts noch viele durch zu arbeiten, aber Personen die die halb-leder Ausgabe im Voraus bestellen werden auch eine Druckexemplar der Geschichte und Bibliographie bekommen. Nebenbei, der Schriftzug im Header dieses Blogs ist Don Rash BDP FritzGotische, speziell von ihm für sein Buch Three Lectures per Hand geschaffen. Man wird sie wieder in dieser Ausgabe sehen.

Für mehr Information über Vorbestellungen..., melden Sie sich bitte bei der Presse, bossdogpress@donrashfinebookbinder.com.

First look at proofs | Erste Ansicht der Druckproben

Annotations | Notierungen
Printing can start | Das Ausdrucken kann beginnen

42 Bone Folders | 42 Falzbeine
For the prospectus | Für die Prospekte

The Bone Folder in Japanese | Der Pressbengel auf Japanisch

Very satisfying was seeing Ernst's Pressbengel translated into Japanese based on my English translation as The Bone Folder. This work was done by Ms. Satoko Noro of the Nara-based "Laboratory for Preservation, Conservation, and Restoration," and published on their website in serialized form. The last installment appeared at the end of 2015. Wonderful to see this happen, and my thanks go out to them. The translation is illustrated with photographs of bookbinding tools and bindings. Below a screen-grab of the table of contents. A Google translation can be linked to here.

Sehr erfreulich war die Vollendung der japanischen Übersetzung vom Pressbengel anhand meiner englischen Übersetzung. Die Übersetzung von Frau Satoko Noro der "Laboratory for Preservation, Conservation, and Restoration"erschien in Folgen während 2015 und war mit Abbildungen von buchbinderischen Werkzeugen und Einbänden illustriert. s war wunderbar diese Übersetzung zu sehen und ich bin Frau Noro sehr dankbar. Unten ein Bild von dem Inhalt auf deren Webseite. Die Google Übersetzung gibts hier.

Just a short while I received a wonderful package from Ms. Noro, the translator. In it a bound tri-lingual copy of the Pressbengel – the original German, my English, her Japanese. A very special gift.

Vor einigen Tagen erhielt ich dann ein wundersames Päckchen von Frau Noro. Es sind der Ur-Pressbengel, mein Bone Folder, und Ihre Übersetzung in einem Band.

The binding | Der Einband

The three title pages and colophon
Die drei Titelseiten und das Kolophon

The Collins: | Die Collins:
History and Bibliography | Geschichte und Bibliographie

Work on the history of W. Collin and bibliography of the writings of Ernst is in the final editing stages for English and German. The first part about W. Collin was released in German back in January as Eine Geschichte und Bibliographie der Berliner Hofbuchbinder und Schriftsteller, and was well received. One reader who found this first part online shared images of a W. Collin binding he had recently acquired, with an image to be included in the final version. I've also shared other images... under the W. Collin tag, all of which are included in the history/bibliography that is pending. In the mean time the bibliographical listing of all of Ernst's writings found to date is available here, including in a spreadsheet with links via HathiTrust and other sources. Just click the navigation bar at top.

Arbeit an der Geschichte von W. Collin und der Bibliographie der Schriften von Ernst nähert sich dem Ziel auf Englisch und Deutsch. Das erste Teil über W. Collin auf Deutsch wurde im Januar als Eine Geschichte und Bibliographie der Berliner Hofbuchbinder und Schriftsteller geteilt mit guter Rezonance. Ein Leser der dieses Teil teilte sogar Bilder von einem W. Collin Einband den er erworben hat. Eine Aufnahme davon wir mit seiner Erlaubnis in der Geschichte gezeigt. Ich habe auch andere arbeiten unter dem "Tag" W. Collin geteilt die auch in der Geschichte erscheinen werden. In der Zwischenzeit ist die bibliographische Aufzeichnung von Ernst Collins schriften einsehbar mit Link zu einer Tabele die zu digitalisierten Versionen bei HathiTrust von vielen der Schriften Führt. Einfach oben auf den Link klicken...

Tentative cover design for the English version of history and bibliography
Vorläufiger Umschlag für die englische Fassung der Geschichte und Bibliographie

The base image for the cover above is drawn from Baedeker's Northern Germany as far as the Bavarian and Austrian frontiers; handbook for travellers (11th ed., 1893). In this example from the 1910 edition, the foldout map was unfortunately not unfolded during digitization (A common lament with Google Books content), but could be found from the University of Texas. The map shows almost all streets where the firm of W. Collin was located. Overlaid images show selections of the work of W. Collin and writings of Ernst, all described in the text.

Als Unterlage dient dieser Plan der Stadtmitte Berlins aus Baedekers  Northern Germany as far as the Bavarian and Austrian frontiers; handbook for travellers (11. Ausgabe, 1893). Wie allgegenwärtig bei Goggle Books wurde der plan nicht entfaltet, aber ein Exemplar der Auflage von 1910 ist bei der University of Texas zu  finden. Auf dem Plan sind fast alle Standorte von W. Collin zu finden, wenigstens den Strassen nach. Dazu dann Beispiele von Arbeiten W. Collins und Schriften von Ernst.

This text will be available online in English and German by the end of June, 2016.

Der Text wird bis Ende Juni 2016 auf Englisch und Deutsch online erscheinen.  

Other news | Weitere Nachrichten

In lieu of a photo of Ernst Collin, I was very pleased to find a copy of the semi-deluxe edition of his Paul Kersten, signed by him and Kersten. The signature provides a nice direct connection to his work.

Ich suche immer noch vergebens nach einem Bild von Ernst Collin, war aber sehr froh ein Exemplar der fast luxus-Auflage von Paul Kersten mit Unterschrift von Kersten und Ernst zu bekommen. Eine schöne direkte Verbindung zu letzerem.

Colophon from Paul Kersten | Kolophon von Paul Kersten

I was also able to find copy of one of the later editions of Ernst's Buchbinderei für den Hausbedarf, perhaps the first manual in German written for amateurs. This stands in contrast to England where numerous manuals for amateurs and school children were written. I especially like the new cover design depicting a woman doing the binding in her well-equipped home workshop. Women in bookbinding was a topic that the Collins were active in supporting.

Im letzten Jahr konnte ich auch ein Exemplar von einer der spãteren Auflagen von Ernsts  Buchbinderei für den Hausbedarf finden. Dies ist vielleicht die erste Anleitung in die Buchbinderei für Amateure in deutscher Sprache. Dies ist im Kontrast zu England wo es mehrere solche Bücher gab für Amateure und Schulkinder. Der Umschlag gefällt mir besonders, war doch die Rolle der Frau in der Buchbinderei ein Anliegen der Collins.

Another acquisition was a postcard of Kaffee Klose at Leipzigerstrasse 19. W. Collin had a "storefront" upstairs, and the lettering on the window can even be read. Another nice direct connection.

Noch ein Ankauf war diese Postkarte von Kaffe Klose in der Leipzigerstrasse 19 im 3. Stock ein "Schaufenster." In der Postkarte kann man sogar die Fenstermalerei erkennen. Wieder eine schöne Verbindung.

Click to enlarge

The "other" Ernst | Der "andere" Ernst

In my "quest" to disambiguate the two Ernsts, I purchased a small grouping of poems by Ernst Collin-Schönfeld last summer that were attributed to Ernst Collin in the dealer listing. I had seen the listing for some time, written to the dealer to ask him to attribute to the proper Ernst with no response, so finally just bought them...Nice to have in the set, really just a signature removed from a notebook as evidenced by the grid pattern on the paper, was the poem "Zur Nacht." The papers of Ernst Collin-Schönfeld at the Leo Baeck Institute hold a typescript of the poem providing a crucial linkage.

Weil ich auch weiterhin bemüht bin die beiden Ernste zu trennen, habe ich im letzten Sommer eine kleine lage Gedichte von Ernst Collin-Schönfeld aus einem Notizbuch gekauft. Ich hatte dieses Manuskript schon einige Male gesehen, den Antiquar auf die zwei Ernst aufmerksam gemacht ohne erfolg, und es letzten Endes einfach gekauft... Dabei war das Gedicht "Zur Nacht." In dem Archiv von Ernst Collin-Schönfeld beim Leo Baeck Institut ist auch eine Druckschrift des Gedichts was auch als "Beweis" der Verbindung mit dem "anderen" Ernst dient.

 

Click here to see typescript of the poem at the Leo Baeck

I had written to the curator of the Leo Baeck offering these manuscripts as a gift, but never received a response. That offer still stands...

Ich hatte den Archivar des Leo Baeck angeschrieben und diese Manuskripte als Geschenk angeboten. Habe aber nie eine Antwort bekommen. Das Angebot steht noch, bitte melden...

W. Collin Mappe und Etikette

[Geändert 5/11/16: Diese Abbildung meiner W. Collin Mappe und verschiedene Etikette und Stempel von W. Collin sind in Die Collins zu sehen]

Diese Geschichte der Collins und die folgende Bibliographie der Schriften von Ernst Collin beansprucht nicht vollständig zu sein, vor allem, weil sie aus der Ferne mittels digitalisierten Sammlungen, Fernleihe und angekauften Büchern zusammengestellt wurde. Sie will einen Anfang machen und darüber hinaus einen Einblick in die Welt der Familie Collin geben. Ernst Collins Ansichten und Schriften über Buchbinderei sind unter allen Quellen die wichtigsten. Die Arbeit soll auch dazu dienen, das Vermächtnis und die Leistungen dieser Berliner Familie wieder ins Gedächtnis zu rufen.

Es folgen in weiteren Teilen Kapitel zum Leben von Ernst Collin, seinen monographischen Schriften, Aufsätze in Zeitschriften, eine Beschreibung der Quellensuche, und ein Verzeichnis seiner einzelnen Schriften.
Das Gesamtwerk ist noch im Aufbau und wird Ende 2016 vollendet sein. 
Mehr hierzu können Sie unter „Colliniana“ wo einige Teile des Inhalts vorab beschrieben wurden.

Mappe von 1892

Paul Kersten's Decorative Leather Work

There are very few mentions, never-mind articles about German bookbinders and bookbinding in English-language publications. Octave Uzanne's article "Paul Kersten's Decorative Leather Work," published in The Studio: an illustrated magazine of fine and applied art, is one of the few that I have found.

Frontispiece portrait of Paul Kersten from
Collin, Ernst. Paul Kersten: Festschrift des Jakob Krausse-Bundes zum 60. Geburtstage seines Ehrenvorsitzenden Paul Kersten. Berlin: Corvinus-Antiquariat E. Collin, 1925.
Lithograph by Edmund Schäfer

Wrote Octave Uzanne in his article:

The bindings of Mr. Paul Kersten, who has been established for a short time at Aschaffenbourg, and displayed some very fine examples of his work at the recent International Art Exhibition at Dresden, are the most striking manifestation yet made by the young German school of binding. He shines especially as a gilder. After a long course of work for a big firm at Leipzig, under the management of M. Sperling, for whom he did his earliest bindings, Paul Kersten was confident enough to start on his own account, in order to bring his name before the public and do justice to his signature.
[snip]
Having awarded full praise to the heavy leather covers of the bouquins of the seventeenth century, Mr. Kersten has to admit that the eighteenth century produced nothing but copies of French bindings; and, further, that if German bindings attracted any attention in the course of the nineteenth century, soon after 1840, it was solely due to the binders. Purgold and Trantz, men of German origin, living in Paris, and to Kalthoefer and Zaehnsdorff, who were established in London. As a matter of fact, try as one will, it is impossible to deny that Germany, during the centuries in question, was very poor as regards art binders, and this fact makes its recent efforts to achieve celebrity in this direction all the more meritorious. Mr. Paul Kersten had few predecessors, and when he talks of Trantz and Kalthoefer he must mistake the facts connected with these artists. They did no work "at home " - that is in Germany - but were "outsiders," who cannot be taken into account on the present occasion. Mr. Kersten himself is one of the foremost German exponents of his art, and he may without vanity be proud of the eminent position he holds.

Unidentified binding from Octave Uzanne's article

The complete article can be read in The Studio: an illustrated magazine of fine and applied art, Vol 24, Nr. 104, 1902. The Studio was one of the premier arts & crafts journals.

Paul Kersten (1865 - 1943) was one of the seminal German fine bookbinders, and his Der Exakte Bucheinband (1923) helped define German fine binding. Ernst Collin wrote the biographical "Festschrift, Paul Kersten," of this in honor of this seminal binder's 60th birthday in 1925. It was published by Collin's Corvinus-Antiquariat E. Collin for the Jakob-Krauße-Bund. The publication is divided into 6 essays titled The Pioneer, Apprenticeship and Journeyman Years, The Author, The Artist, The Craftsman, and The Man. Also included are a bibliography of Kersten’s writings and illustrations of 48 bindings created between 1896 and 1925. Among them also a binding of Der Pressbengel. The illustrations were taken from Kersten’s Der exakte Bucheinband, and the Archiv für Buchbinderei, one of the premier arts & crafts bookbinding journals. Like Georg Collin with whom he worked at W. Collin, Kersten was heavily involved with teaching, including at the Lette Verein (a trade school specifically for women founded in 1866) where he succeeded Maria Lühr, Germany's first woman Meister. Other notable students included Otto Dorfner and Otto Pfaff, both of who Collin also wrote about in articles.

Colophon from Paul Kersten

Below Kersten's Bundverzierungen, Spangen und Schliessen in moderner Richtung für die Vergoldepresse (1898), a sampler of dies available for embellishing raised bands and boards. While in German, the illustrations speak for themselves. Below, embedded text from HathiTrust.

Kersten was the author of numerous manuals for bookbinding, design, gilding, ... , however his Der exakte Bucheinband; der gute Halbfranzband, der künstlerische Ganzlederband, die Handvergoldung is considered the first manual for arts & crafts design binding. What makes the book especially interesting are the 133 depictions of bindings, technique, and design patterns, in addtion to 48 samples of decorated papers and other materials provided by various vendors at the back. Below, embedded text from HathiTrust.

Der exakte Bucheinband was also mentioned in Ernst Collin's Der Pressbengel (translated as The Bone Folder) when the Meister and Bibliophile were discussing board attachment. See "Aufschabeblech - What would it be called in English?", a post published back in 2011 for more information.

Ernst Collin Signature!

Received an exlibrary copy of the limited edition Ernst Collin's Paul Kersten Festschrift (1925), copy XX to be precise.

Habe heute ein Bibliotheksexemplar von der Sonderausgabe Ernst Collins Paul Kersten Festschrift (1925) bekommen, Exemplar XX um genau zu sein.

Cloth with paper sides | Halbleinen mit papier

Exlibris

Withdrawn | Ungültig

Copies A-F and I - L, were signed by both Paul Kersten AND Ernst Collin.

Die Exemplare A-F und I-L wurden von Paul Kersten UND Ernst Collin signiert.

And large: wonderful to have this and one step closer to that elusive photograph...

Und in groß: ein Schritt näher zu dem flüchtigen Foto.

Ernst Collin signature detail from Paul Kersten (1925), copy XX