Learning About the Trades? Guides for "Children"

Lured into a rabbit hole, again, by a photo of a poster hanging in a toilet depicting bookbinding tools with German captions naming them. "Hey, just saw this, know anything about it and where it might be from? That's all it took for me to get sucked in ... So, did a Google Image search based on the image I was sent that led me to the source. The tools were only part of the story though; the other part was a depiction of a bookbinders workshop, the kind one finds when searching for images. Over the years, I had saved several, but not this one. But first, let's go back in time ... The image below from the Neues Bilderbuch für Kinder, published in Leipzig (1799) is very reminiscent of the illustrations in Diderot and others of the same time ... I have not been able to find a digitized source for the original publication.

Neues Bilderbuch für Kinder... Nouvelle galerie pour les enfans, contenant differens objets pris dans l'histoire naturelle, les sciences, les arts et métiers, dessinés fedèlement, avec une explication en quartre langues. Leipsic [sic]: Chés Fréédric Gotthelf Baumgaertner, n.d. [1799].
Found on Booktryst.

Interesting that it was publishd in four languages, but remember, at that time much of Europe (including Saxony and Leipzig) were ruled by France ...

Below one from 1847. Wissembourg on the border with "Germany".

From Tableau d'apres nature pour l'instruction de la jeunesse: 
30 ateliers de différents métiers, publiés par Fr. Wentzel. - Wissembourg 1847.
Bilder zum Anschauungs Unterricht für die Jugend, 
(Instructional Picture Books for the Youth)
The lithograph is by Jean Frédéric Wentzel (1807-1869).

Couldn't find the whole book online, just similar images ...

Here another similar one from Was willst du Werden; Bilder aus dem Handwerkerleben (What do you want to become; pictures of life in the trades) from 1880.

Another stylized workshop showing the tools of the trade and tasks.
View online here.

No additional context here, just 12 trades: Plumber, basket maker, mason, stone mason, shoemaker, barrel maker, bookbinder, metalworker, tanner, cabinet maker, baker, and carpenter.

What do these have in common? They all intended to teach children/young adults about some "important" trades, trades they might enter or interact with in life.

So, back to the image of tools I was sent and that led me down this rabbit hole ... That image came from Arbeitsstätten & Werkzeuge der wichtigsten Handwerker (Workshops and Tools of the Most Important Trades). Eßlingen, Verlag von J. F. Schreiber, 1875. This work appeared in several editions, the first [1835], and depicted 30 trades. Schreiber was, and still is known as a publisher of "educational" childrens books and paper-based models ... The 30 trades were: potters, sculptors and masons, farriers, nailsmiths, locksmiths, coppersmiths, plumbers, cutlers, tinsmiths, bell founders, blacksmiths, gold and silver smiths, carpenters, coopers, turners, butchers, bakers, ropers, soap makers, tanners, shoemakers, saddlers, brush makers, drapers, tailors, milliners, weavers, and bookbinders. The reduction in trades illustrated could be a direct result of the industrial revolution and its impacts.

Bookbinding from 30 Werkstätten von Handwerkern, 1840.
More here.

Schreiber also published the satirical paper, Meggendorfer Blättern that included the caricature that poked fun at the quality of bookbinding work ... (Fliegende Blätter, 67.1877, Nr. 1684, S. 148). 

"Unitentional crudity" from a sketch by Adolf Oberländer.

But, I digress ... 

So, below the image of the tools from the 1875 edition that I was originally asked about ...

Some of the bookbinder's tools ...

This image was preceded by the "typical" workshop ... It was interesting to compare the image below with the one in my copy. Same image, different degrees of coloration - in mine the top half was uncolored.

The bookbinder's workshop ... Of interest, the apparent selling
of books at right.

The trades included in this edition were: baker, tailor, butcher, tanner, shoemaker, saddlers, carpenters, wheelwrights, coopers, construction workers, metalworkers, and bookbinders (Schneider, Bäcker, Metzger, Gerber, Schuhmacher, Sattler, Schreiner, Wagner, Küfer, Bauhandwerker, Schlosser und Buchbinder). Each trade was described in the text section and given two lithographs, one of the workshop and one of the typical tools. The trade and tools were described in sections at the beginning of the book.

I found a copy of the 4th edition from [1890] and ordered it, because, why not ... Sadly this copy was lacking the introduction, but I did find the 1875 edition online with introduction at the Stabi in Berlin (digital images with clean transcriptions of the text). Below a translation of the introduction using DeepL that captured the for the time typical flow of the text ...:

Since the illustrated textbook for visual instruction, titled 30 Workshops of Artisans which had been used with great success for several years in many schools and educational institutions throughout our homeland and beyond, and had been published in six editions had gone out of print, and since the publishing house did not wish to reprint the illustrations and descriptions, which were no longer up to date, it decided, in response to widespread demand from the teaching community, to give the work a thorough overhaul.

The undersigned was happy to undertake the task assigned to him: to depict the work of the most common artisans in a simple manner and to show in the illustration only those activities in which the artisan works without complex, artificial machines and does not himself become a machine. Only in the case of the tailor and the shoemaker did he allow himself to make an exception by including the sewing machine, which should come as no surprise when one considers that, at present, even in the most remote villages and in ordinary middle-class households, such machines have found acceptance and use, and there is hardly a tailor left who works without one.

Of the work’s 24 folio-sized illustrations, 12 depict craftsmen at work in their workshops at a scale that allows them to be clearly seen even from a considerable distance during classroom instruction, while another 12 plates illustrate the most important tools.

Because these new drawings utilized the entire surface of a folio sheet to depict a craftsman’s workshop, this purpose was served even more effectively than in the earlier edition through the use of enlarged figures and so on. Previously, within the same space, an image of the craftsman and his tools had been grouped around it; now, the many tools fill a separate sheet all by themselves.

The most talented artists—who visited the artisans themselves in their workshops and thus created the illustrations directly from their own observations—worked on these new drawings, which had never before been rendered with such clarity; and the publisher carried out the reproduction with enthusiasm and care, utilizing all the latest techniques of color printing and coloration.

The text aims to provide both a brief description of the activities and a concise historical overview of the trade in question. For each craft, historical notes are included about notable figures who were associated with the trade or about particularly famous works produced by those engaged in it. This provides the craftsman with a picture of his occupation that, while presented in brief outline, is nevertheless generally complete. He will be pleased to recognize what a shining beacon the trade is in the history of our nation’s cultural development, and for young people, it may serve as a reminder to look upon these magnificent testaments to human will and endeavor, diligence, and strength with respect and joy. Both the young and the old will find here an equally rich source of instruction as well as entertainment.

And so, this revised edition of the classic work is warmly recommended to schools and families, to teachers and school principals, as well as to the artisans themselves.

May it receive the same warm reception as in the past, just like the other widely distributed illustrated works for visual instruction and other youth publications that have emerged from this renowned publishing house.

Eßlingen, August 1875.

Resources like the above continued to be produced into the 20th century. Below the image for bookbinding from Meinholds Handwerkerbilder, [1924]. This was number 15 in the series illustrating trades. They were produced by Meinhold und Söhne, Dresden primarily as "posters" that were suspended on wooden rods for classroom use. The scan below is from a postcard series that was also issued.

Bookbinding from Meinholds Handwerkerbilder, [1924]

Introductions to the bookbinding trade were also published by the national guild, introducing those interested in a more formal way to what they could expect, in one case with some interesting before and after contrasts. That's for another time though.

So, it's always good to have a sense of the kind of trade your parents will send you off to learn beforehand, even if the images make it look much more welcoming than it might turn out to be ...

Bookbinding As A School Subject

Here the second of the two "manuals" introducing bookbinding subjects to school children that I recently received. They are both parts of the Technische Jugend Bücherei  (Technical Library for Youths) edited by L.M.K. Capeller, instructor for art education at the teacher training institute in Munich. The first pamphlet Papparbeit (No. 17) was described in my previous post, and covered the subject of paper crafts such as desk accessories, calendars, boxes, ... 

Buchbinden (No. 18) is the second that introduces bookbinding. Both were published in 1926. The structures that are introduced are the single-section pamphlet in a wrapper and the multi-section Pappband, or as it more commonly referred to in North America, Bradel binding. The appendix briefly describes sewing on sawn in cords rather than tapes, and suggests working with a carpenter to construct a sewing frame (diagram in book).

The covers on these pamphlets are rather attractive,
with the central decorative element representing a box.

Title Page

Diagram for making the hooked endpaper out of a
single strip. This will result in a pastedown,
flyleaf, and guard/waste sheet that the cover
will be built up on. 

This construction was also depicted in the post here.

Starting the sewing. Note the position of
the endsheet relative to the first signature.

The diagram depicts the "gebrochene Rücken",
referred to here as the Hülse (hollow). Per the text,
it is made from two pieces, one the width of the spine, the 
other wider to attach it to the guard/waste sheet
of the textblock. It is made of card stock, and rather
than creasing and folding, it is scored, then folded.

Do you know the difference between creasing and scoring?

The Hülse attached to the guard/waste sheet.

Next, the boards get attached.

Several presses are depicted in the booklet...

After trimming the boards to size, Buchbinden ends
by telling students that there is no need to describe 
covering as that was all described in the previous
pamphlet Papparbeit. After covering it continues
with paste out the paste down, close the cover onto the
textblock and put in the press.

Final tips: When starting out, sew on tapes, so you don't need a sewing frame, make sure you have lots of CLEAN wastepaper ready BEFORE starting each step, so you don't have to scurry to find a piece, also avoiding glue stains on the book... Then, make sure to have fun.

Although this pamphlet is written for school children, the basic instructions are consistent with what was described in trade manuals published 100 years earlier.

The back cover.

Book Crafts As A School Subject

Just received two more "manuals" introducing bookbinding subjects to school children. These two are both parts of the Technische Jugend Bücherei  (Technical Library for Youths) edited by L.M.K. Capeller, instructor for art education at the teacher training institute in Munich. The first pamphlet Papparbeit (No. 17) covers the subject of paper crafts such as desk accessories, calendars, boxes, ... The second Buchbinden (No. 18) introduces bookbinding. Both were published in 1926. In this post, I'll share from Papparbeit.

In the post Book and Paper Arts for School Students, a tale of two Pralles H. Pralle wrote in Die staatliche Kunstgewerbeschule zu Hamburg "The pupil's workshops should not train craftsmen, they should educate in the children of all professions in the right understanding, sharp vision, and aptitude. Manual dexterity is valuable if mind and body are to be cultivated." So it was with these two texts.

The English bookbinding literature also features numerous publications of this sort, e.g. The Cockerells' Bookbinding as a School Subject series, Lismer's Bookbinding Constructions for Senior Schools, Matthew's Simple Bookbinding for Junior Schools and similar. While aimed at school children, the type and complexity of many of the techniques and projects introduced are on, and in some cases beyond what we would now consider basic or even intermediate book arts workshops. 

The covers on these pamphlets are rather attractive,
with the central decorative element representing a box.

Title page.

Covering the edges of a portfolio, calendar or similar.
A decorated paper will be used to cover the rest.

Covering the sides of a box.
The boxes are assembled by cutting, scoring,
and folding the cardboard.

And, the box is covered.

Back cover of the pamphlet.

In my next post I will share from Buchbinden.

Promotional Leaflet by Ernst Collin for Dornemann & Co.

Back in September 2021 I acquired a binding containing two small publications by Paul Kersten and 5 advertising leaflets for type holders and brass type made by Dornemann & Co. in Magdeburg. Two were written by Paul Kersten, two unattributed, and one is by Ernst Collin. Collin was  no stranger to commercial work, also having written articles for Wilhelm Leo that were included in a calendar that they published annually.

P. Kersten. Geometrisches Zeichnen u Handvergoldung.
The title is hand letter on the cloth.

Works included in the binding are:

• Kersten, Paul. Geometrisches Zeichnen für Buchbinder. Verlag des Allgemeinen Anzeigers für Buchbindereien, Stuttgart, 1928. (Geometric Diagramming for Bookbinders)
• This text came out in a new edition in 1935 with one section rewritten to reflect the new power structure - how to properly represent the swastika. Perhaps a post for another day.
• Kersten, Paul. Lehrbuch der Handvergoldung: Eine Anleitung zum Selbsterlernen. Verlag von Wilhelm Knapp, Halle a. Saale, 1930. (Manual for Finishing: Instructions for learning on ones own)

Werbeschriften (Advertising leaflets):

• Kersten, Paul. Etwas über Schriftkästen. Dornemann & Co., Magdeburg, [s.d.] (About Typeholders)
• Kersten, Paul. Messing- oder Blei-Schriften. Werbeschrift Nr. 4. Dornemann & Co., Magdeburg, [s.d.] (Brass or Lead Type)
• [s.n.]. Schriftkästen. Dornemann & Co., Magdeburg, 1928. 
• [s.n.]. Messingschrift-Giesserei Dornemann & Co., Magdeburg. Werbeschrift Nr. 8, Dornemann & Co., Magdeburg, [s.d.]. (Brass Type Foundery Dornemann & Co., Magdeburg - about the foundery) Written in German, French, English, Spanish. (Boîtes, Typeholders, Cajetínes Composteurs, Lettering Pallets)
• Collin, Ernst. Messingschriften für den Handvergolder. Werbeschrift Nr. 3, Dornemann & Co., Magdeburg, [s.d.]. (Brass Type for Gold Finishers)

While the German National Library has others of the series of Werbeschriften in its catalog, these do not appear...

Here the English page of Messingschrift-Giesserei Dornemann & Co. These sentiments are also reflected in Collin's leaflet.

Brass Type for Hand=Finishing!

We are the only firm in Germany able to cast Brass Type for hand=tooling from instruments and matrices. This is the only process giving _bsolute guarantee for producing the highest grade type. Our Founts are famous for their clear face and deep cut even in the smallest sizes, the alignment of the letters is perfectly true and the height absolutely correct. The composition of metal used by us proves to have greatest resistance power and with care our type is practically indestructible, whilst owing to mass production our prices can be considered reasonable taking info consideration the high finish.

Our brass type is known all over the globe where book finishers pride themselves in turning out good bindings and letterings, and both at home and abroad the superior quality of our productions are universally acknowledged. One of fhe best known craftsmen in Paris considers 

"The name of Dornemann is synonymous with perfection!"

We are constantly endeavouring to keep our output up to the highest standard of efficiency as regards artistic and modern perfection, and our type will be found most durable. All goldfinishers requiring type, ornaments, and gilding tools for handlettering should apply fo us for samples and catalogues.

[Edit: To learn how these Dornemann type faces were cast, read "Sandcasting brass types for bookbinders" on Dan Reynold's Type Off  blog.

Below the German text of Collin's pamphlet.

When I returned from my apprenticeship in Germany, I ordered a basic set of pallets and gouges for finishing from via the West German distributor for Dornemann, still in Magdeburg and in the DDR.

Dornemann also produced a set of pallets and gouges designed by Ignatz Wiemeler, one of the finest design binders, ever.

In 1987, pre-reunification the pallets were 229  and the gouges 285 Deutsch Marks. In 1991 I ordered the other set of gouges and the price had increased to 557 Deutsch Marks. For this Wessi, it would have been smarter to buy all in 1987, but who would have known the wall would come down 2 years later. All in all, good that it came down.

Looking east and at the building for the State Publisher of the DDR.
This picture and the next were taken by me in November 1984.
More from that visit and the one in December 1989 here.

Looking over the wall. The image was taken with a telephoto.
Between the Wall (Ebertstrasse) and the Staatsverlag (Wilhelmstrasse)
was once Hitlers bunker... Now the "death strip" has been filled in with buildings,
but just to the left of this picture is the Memorial to the Murdered Jews of Europe.

History is everywhere, and Ernst Collin and his family were certainly a part of it on many levels.

The Binding of a Book, Film and Manual, 1936.

First post on bookbinding history, manuals, all the things that were usually featured on this blog since the end of 2021.

Training in the trades in Germany was very regulated and standardized with training in the apprentices bindery, comprehensive manuals, trade school and other workshops all coordinated with each other. Exams and the pieces and skills to be demonstrated were the same across the country each year as well. The intent was that binderies and the Meister knew what they could [theoretically] expect from each new journeyman with the latter expected to arrive with their tools and ready to work from day one...

Das Einbinden eines Buches (The Binding of a Book) is a very basic manual that described the construction of a Deckenband (case binding in the German (Bradelesque) tradition). As is common, lots of text with a few illustrations. What makes this text unique in my experience with the German literature is that it was published to accompany a silent film in two parts in which the steps are demonstrated. The book and film were produced by Georg Netzband (instructor for diagraming) and the Reichstelle fur den Unterrichtsfilm (National office for instructional films) in 1936.

The film was released in two parts:

• Part 1: The endpapers; sewing; sewing supports.
• Part 2: Rounding; the book cover (case). 

Part 2 begins with a history of bookbinding, but in a sign of the times concludes this history with a mention of the binding of Hitler's Mein Kampf that written on parchment, embellished with ornaments of German plants, total weight of this presentation binding, 70 pounds... It was presented to Hitler at the annual day of the trades (Handwerkertag) in 1936. The binding was depicted and described in the Archiv für Buchbinderei, 1936 (pp 46-48).

Here the complete film with both parts combined by me.
Click the "Watch on YouTube" at bottom left of preview to watch.

Download/read the booklet from here.   

Click the "Watch on YouTube" at bottom left of preview to watch.

Interesting to me the construction of the hooked endpaper. The diagram is below. Not illustrated in the video (starting at 2:12) is the attaching of the reinforcing cloth ("Shirting", a starched muslin-like fabric), the endpaper being just paper. The cloth would strengthen the joint and connection though... The "fliegender Falz" a "guard" is used to attach the case to the textblock before putting down the pastedowns.

The endpaper construction.

After folding, and the sawing in for the recessed cords, these endpapers get hooked around the first and last sections for sewing.

Hooking the endpapers around the 1st and last sections.

After sewing and forwarding (the cords get untwisted and fanned out onto the guard - see also this post), the case gets constructed, and spine covered. In this case (pun intended) it will be a quarter binding with corners. The case then gets attached to the textblock (at 19:37) by way of the "fliegender Falz". This ensures that everything fits before attaching corners covering sides, and putting down the pastedowns.

Gluing out the guard to adhere the case. Note the frayed out cords.

In many respects, the steps and techniques demonstrated and described go back to the 18th/19th century roots of this structure as it would have been applied by the trade. The completed book can be as utilitarian or fancied up as desired.

I presented a hands-on workshop for the University of Iowa Libraries and Center for the Book at the end of September on this topic and will be transforming my workshop handout with comprehensive review of the literature into an article for the Guild of Book Workers Journal over the course of this year. Everything is mostly there, but loose ends to connect...

Book and Paper Arts for School Students, a tale of two Pralles

Willi Pralle, Papier- und Papparbeit. Schulzesche Verlagsbuchandlung, Oldenburg, 1938.

Given the date of publication and the torn-out title page in my copy, I'm going to assume that it contained information linking it to the National Socialist government... Per the OCLC record, it was published for the Gauwaltg. d. NS.-Lehrerbundes im Gau Weser-Ems (Administration of the NS Teacher's Federation in the Weser-Ems District) that was based in Oldenburg.

The book would have been used in the teaching of paper and book-related crafts to/by teachers working with the lower school grades.

Interestingly, a Heinrich Pralle taught this subject at the Staatliche Kunstgewerbeschule zu Hamburg where Franz Weisse and Ignatz Wiemeler also taught. The book Die staatliche Kunstgewerbeschule zu Hamburg (1913) shows examples of works created by Pralle's students starting page 383. Given the similarity in name and focus, were they father and son?

Workshop where teachers would have been taught these paper crafts and more at the
Staatliche Kunstgewerbeschule zu Hamburg ca. 1913.
Click to enlarge.

Paper crafts as taught by Heinrich Pralle at the
Staatliche Kunstgewerbeschule zu Hamburg ca. 1913.
Click to enlarge.

The purpose of this instruction (in German) was to get children used to working with their hands, something that privileged those in rural areas over the cities because the children were more likely to have direct contact with this kind of work. From Die staatliche Kunstgewerbeschule zu Hamburg, "The pupil's workshops should not train craftsmen, they should educate in the children of all professions in the right understanding, sharp vision, and aptitude. Manual dexterity is valuable if mind and body are to be cultivated."

Willi Pralle's book introduces the topic in the same manner with specific instructions for a number of excercises... A similar book is So fertige ich allerlei Buchbinderarbeiten (1911) by Richard Parthum.

The illustration depicts a class-sized tool cabinet for the making of paper crafts.

Schematic for a simple octavo stab-sewn notebook and loose documents.

Schematics for making round boxes with lids.

Tipped in paste paper swatches.

Tipped-in paste and marbled papers.

Decorated Papers from Kersten's Exakte Bucheinband

Swatches of decorated papers and other materials were regular features of German bookbinding publications, whether books or journals. Below the swatches included with Paul Kersten's Der Exakte Bucheinband (1923), one of the iconic manuals focusing the Franzband (Extra binding with 90 degree joint and laced-on (usually) boards. The text appeared in multiple editions with the 1909 available in HathiTrust. Swatches there start on page 223.

Notice how the vendors for the papers are listed with/below the swatches, as well as what the paper the swatches are mounted on. This is allows the binder for whom the publications were written to know exactly where to procure them.

Title Page

Vorsatz (endpaper) and Überzug (covering paper).

Marbled papers.

More marbled papers of various kinds.

More endpapers.

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 whom Ernst Collin wrote about in articles. Kersten followed Maria Lühr as teacher at Lette Verein, 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 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, Klein's 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.)