Showing posts with label Ignatz Wiemeler. Show all posts
Showing posts with label Ignatz Wiemeler. Show all posts

Sunday, February 2, 2020

Ignatz Wiemeler and Gerhard Gerlach Together at MoMA

MoMA in NYC has placed records of its exhibitions from the founding in 1929 to the present online. Included are some catalogs, some images of the installed exhibits, checklists, and press releases in some combination and to varying degrees. While not on display at the same time, both Ignatz Wiemeler and Gerhard Gerlach exhibited at MoMA.

Ignatz Wiemeler, Modern Bookbinder: [exhibition], October 2nd to October 24th, 1935.

Among them is the catalog to the 1935 exhibit, Ignatz Wiemeler, Modern Bookbinder!

Cover to Ignatz Wiemeler, Modern Bookbinder

The catalog also references the article "Bookbinding, Old and New" by Wiemeler that was published in The Dolphin, No. 1, 1933. The complete run of The Dolphin is online at Carnegie Mellon University. This was his only publication in English.

Wiemeler student Gerhard Gerlach was himself part of an exhibit titled The Arts in Therapy
February 3–March 7, 1943. The items in the exhibition represented "a selection from a nationwide competition, open to all American artists and craftsmen, for new designs and objects in those crafts acknowledged to have therapeutic and recreational value for disable ad convalencent members of the Armed Forces."

In the category "projects for patients," Gerlach received an "honorary award" with a Morris Levine for a lap board that was used for binding. Gerlach die the bookbinding. Levine was credited for the lap board. A lap board can be seen at right in the image from the exhibition below.

Lap board at right.

These kinds of activities, including for veterans were not unique to the United States. A contemporary example from Germany was Ruth Zechlin's Soldaten Werkbuch für Freizeit und Genesung. Ravensburg: Otto Maier Verlag, 1943 (2nd ed). It was designed for convalescing soldiers and those on leave, and starts off with instructions for making a Bett-tisch (bed table) for making the quite complex projects on. These include wood working, origami,bookbinding, dolls, all manner of crafts really. See some images showing the cover with pasted-on label, title page, the Bett-Tisch, and examples of bookbinding in the post "Bookbinding for Rehabilitation." More articles here.

Monday, July 21, 2014

Ernst Collin on Gerhard Gerlach, 1930

Received one of my interlibrary loan requests today, an article by Ernst Collin about bindings being exhibited by Meister der Einbandkunst at the Bugra exhibition in Leipzig. The Bugra was THE most significant publishing and binding trade fair in Germany at that time.

In the article titled Die alte, neue Bugramesse: Was die Meister der Einbandkunst zeigten,Collin described the refocusing of the Bugra back to its roots and away from a more general trades oriented exhibition.He also provided context for the Bugra, and among other things commented on the contrast between the high art of French binding and the dominance of simple paperback bindings on poor paper for the majority of trade books.

Then there was this, still, new group, Meister der Einbandkunst, with a modest exhibition of bindings by established binders and lesser known members. Given the limited space available to him, Collin focused on several binders chosen in no particular order of significance in order to highlight their work. Among them Gerhard Gerlach who emigrated to the US with his American wife Katheryn. From the retrospective part of the Guild of Book Workers 100th Anniversary Exhibition:
Gerhard Gerlach was born in 1907 in Germany, apprenticed to a binder for three years and studied with Ignatz Wiemeler at the State Academy of Graphic Arts in Leipzig, attaining his certificate and diploma as a master binder before emigrating to the United States. He was brought to the USA by a young American he met at the Academy, Katheryn Edwards. Together they formed a remarkable bookbinding team, crafting not only fine bindings but fine binders. Upon arriving in the USA in 1934, he taught at Columbia University. At his Bookbinding Workshop, opened in 1945, he partnered for a short while with Hope G. Weil and later Charlotte Ullman. Among his students were Eva Clarke, Margaret Lecky, Inez Pennybacker, Hope Weil, Arno Werner, and Laura Young. Gerhard Gerlach joined the Guild in 1939 remaining a member until his death in 1968. To honor his contributions, the Guild mounted a memorial exhibition of his bindings at the Grolier Club in 1971.
Here an edited composite of the Collin article with the section on Gerlach.

Die alte, neue Bugramesse: Was die Meister der Einbandkunst zeigten,
Allgemeiner Anzeiger für Buchbindereien, Vol 45, Nr 12, 1930 (244-245)

Given the significance of the Bugra and Gerlach's connection to Wiemeler I searched online to see if any bindings were depicted. Like winning the lotto, all the Gerlach bindings happened to be for sale very recently and were depicted at Peter L. Masi – books (along with many other bindings). With permission I reproduce them here with Collin's translated comments.

Design study for Hegel, Delius, Seinen Briefen


Hegel, Delius, Seinen Briefen, 1918, #54, bound by Gerhard Gerlach


Of Hegel, Delius, Seinen Briefen, 1918, #54, Collin wrote "that the binding is divided into two sets of parallel panels in which the outside ones have tightly spaced parallel lines tooled in blind. This allows the grain of the leather to stand out more in the untooled panels, but unfortunately the denseness of the tooled lines obscure the natural grain of the leather."

 Collin also singles out the remaining bindings below for the way in which the leather, the design of the bindings, and the tooling whether blind or gold. stand out positively.


Hofmannsthal, Deutsche Epigramme, Munchen, 1923, #83, bound by Gerhard Gerlach




Carl Burckhardt, Kleinasiatische Reise, Munchen, 1925, bound by Gerhard Gerlach


von Aue, Borchardt, Der arme Heinrich, Munchen, 1925

He concludes by saying that this young binder has shown himself to be a "hope awakening personality" for the future.

The work of Wiemeler and Dorfner was part of the "new objectivity" (neue Sachlichkeit) that was  "Americanism, cult of the objective, the hard fact, the predilection for functional work, professional conscientiousness, and usefulness." To the Nazis it was degenerate, but even then the style was adapted well to serve their "need" for presentation bindings and other accessories, but that is a story for another time.

The Gerhard & Kathryn Gerlach collection was recently sold by Peter L. Masi Books and those wishing to study the bindings, artwork, correspondence... will want to travel to Indiana University's Lilly Library in Bloomington - a most fitting home. Give them time to process and catalog first though - it was just acquired.

[Edit 7/1/2018]
Two additional articles about the Gerlachs can be found in the Journal of the Guild of Book Workers.

GERHARD GERLACH by Laura S. Young
Volume 7, Number 1, Fall 1968 (PDF pg 4)
https://guildofbookworkers.org/sites/guildofbookworkers.org/files/journal/gbwjournal_007_no1.pdf

GERHARD GERLACH AS A HAND BOOKBINDER by Kathryn Gerlach
"This Memorial Exhibition is testimony to the fact that Gerhard Gerlach was not only a great bookbinder, but a great artist as well."
Volume 10, Number 1 Section B, 1972 (PDF pg 25)
https://guildofbookworkers.org/sites/guildofbookworkers.org/files/journal/gbwjournal_010_no1b.pdf

Sunday, October 20, 2013

Cranach Press Hamlet - Ignatz Wiemeler

Visited the Rochester Institute of Technology's Cary Graphic Arts Collection with a class I was taking several weeks ago, and was VERY pleasantly surprised by one of the books Curator Steven Galbraith had selected to show us. A copy of the Cranach Press Hamlet bound by Ignatz Wiemeler, perhaps THE most noted German binder of the 20th century. Wiemeler was, among others, teacher of Kurt Londenberg (teacher of Frank Mowery), Fritz Eberhardt (teacher of Don Rash), and Arno Werner (teacher of many in Massachusetts' Pioneer Valley including Carol Blinn, Sarah Creighton, and elsewhere such as Gerhard Gerlach).


Ignatz Wiemeler (at left)with Kurt Londenberg in Leipzig, Germany, 1937.
From: Leben und Werk des Buchkünstlers Kurt Londenberg (1914-1995),
Helma Schaefer, ed., Verlag Ludwig, 2009.

As I entered the room filled with other treasures, I was immediately drawn to this binding, and when I asked, "Wiemeler?" was acknowledged by a wry smile on the part of Steven. Thank you for letting me handle this volume and share these images. Note the very simple elegance and incredible precision of the binding – Wiemeler hallmarks all.

All images permission of Cary Graphic Arts Collection, Rochester Institute of Technology.





Signed by the Meister


Thank you Steven for this rare treat.