Tuesday, June 26, 2012

German Stiffened Paper Bindings - 1

Henry Hébert describes the history and construction of these very basic and utilitarian bindings in his Works of the Hand blog post on November 27, 2011. Syracuse University Library's von Ranke Collection has numerous examples of the style, so I thought it would be nice to provide depictions of examples.

"Leopold von Ranke (1795-1886), a German historian and historiographer, was highly influential in shaping the modern approach to history, emphasizing such things as reliance on primary sources, narrative history and international politics. Ranke's personal and professional library, consisting of more than 10,000 books, several hundred manuscripts and approximately 5 linear ft. of personal papers, was purchased for Syracuse University in 1887 and formed the nucleus of what is now the Syracuse University Special Collections Research Center (SCRC)." (cite)

The von Ranke Library in 1910. Image from Wikimedia Commons.

What makes this collection interesting is that it while a good bit of conservation work has been completed on works in the collection, the collection functions as time capsule for a great deal of 18th and 19th century German trade binding styles. Many of these reveal themselves as a result of the heavy use which the collection experienced when it served as the newly formed university's circulating library, making it a great (and sobering) pleasure to browse the stacks.

Known as broschuren and steifbroschuren in German, these brochures, pamphlets, and other related bindings have long been a part of the German bookbinding tradition. These can range from single section pamphlets with simple wrappers to adhesive bound or sewn textblocks in wrappers, to hard cover variants. In all cases the common thread is providing the texts with a simple yet functional binding that may or may not be intended to be permanent.

In the literature they first appear in the 3rd quarter of the 19th century, but are not given more than cursory attention. "We are all familiar with these kinds of bindings regardless of “national tradition,” in most cases do not even notice them. Perhaps that is because even if they largely saw use holding together notebooks, schoolbooks, or as “interim/provisional” bindings for other texts..." (L. Brade’s Illustriertes Buchbinderbuch. Halle: Wilhelm Knapp, 1882. Pg 195-201). Adam (Die Praktischen Arbeiten des Buchbinders, Vienna: A Hartleben’s Verlag, 1898. Pg 27) writes that “brochures are not a form of book, but nothing more than folios gathered together in a handy and useable form, in order to be more saleable. In order to prevent the individual folios from falling out if they are cut open, these are simply sewn together” [Note, links to German manuals above may not reflect the edition being quoted but freely available via Google Books. Year and pages reflect actual examples in my collection.]

The boards could be thinner (thin card stock) or more substantial (1 to 1.5mm), the covering material could be paper or cloth and was attached directly to the spine, and the book was trimmed flush either on all three sides, or just top and bottom with fore-edge square and the covering material turned in along that edge.

Below is a selection of images showing these functional bindings. Click on them for a larger view.

Simple multi-section journal articles with cloth spines, marbled sides, and fore-edge squares with turn-ins.
Click on image for large image showing the embossed cloth used.

Interior view showing fore-edge squares with turn-ins and the single-folio tipped-on endpaper (flyleaf missing).

Cloth spine with bare boards with front of original paper wrapper adhered to front..

Simple stiffened paper wrapper, trimmed on all three sides with gilt edge applied after trimming.

Interior view showing single sheet pastedown hooked around first text signature.

Sewn on 2 recessed cords with gently rounded spine.

Sewn on 2 vellum slips

Sewn on 2 vellum slips
All binding images:Credit: Leopold v. Ranke Collection, Special Collections Research Center, Syracuse University Libraries.

 My next post will describe and depict the modern version of this structure, one that is equally suited to quickly binding photocopies, fine press editions, and most anything that is in between. Click here to read...

Friday, April 20, 2012

Jahrbuch der Einbandkunst

The Jahrbuch der Einbandkunst (Yearbook of the Art of Bookbinding) was a journal published 4 times, 1927, 1928, 1929/30, 1937. It was published by the Meister der Einbandkunst (MDE), the German association of masters of the art of binding that grew of out the Jakob-Krause-Bund. Both organizations included some of the most influential German binders of the late 19th and early 20th century, among them Paul Adam, Otto Dorfner, Paul Kersten, Franz Weiße, and Ignatz Wiemeler.

Published in German, each volume was divided into two parts, with essays by leading scholars in the field on historic and contemporary bookbinding, respectively. Included in the contemporary sections were "reviews" of the state of fine binding in individual nations allowing the reader to compare trends in design and see who was coming up in the field. The date range of 1927 - 1937 is also very interesting in particular when viewing the German contributions as this period covers the Depression, Weimar Republic, the period of the Bauhaus, and the ascendency of the Nazis. All these influenced binding design and content, often quite graphically - art, craft, and politics are very intertwined.


The copy above, bound by/in the firm of E.A. Enders (Leipzig) is from my collection. I remember being blown away by it on many levels when it was brought into Bill Minter's shop by a dealer who wanted to have a nice clamshell box made for it. Much to Bill's chagrin, the book was sold on the spot (for what was then a lot of money to me). I made a box shortly thereafter in my own, then modest dining room "studio." I very quickly found myself sucked into the essays, especially the ones on contemporary binding. It was my first (and really only) design binding purchase, and I still love to study the design, the combination of decor, the typographic elements - Germans integrated the title into designs more so than other traditions - and also the little flaws that make it "human." For instance, the titles on the spine and boards were tooled not from cast type/letters, but pieced together from various straight line pallets and curved gouges like those below.

From Kersten's Exakte Bucheinband, 1909.


Over time I was able to acquire the remaining 3 volumes, all in different bindings - plain 1/4 leather, rough cloth, and the paper wrapper in which it was issued. Together they provide a tremendous snapshot of the work being produced in Germany and around the world during a tumultuous period.

Other bindings on this journal can be viewed online below. Image quality not great, but they show a wide range of binding styles.
To find the journal at a "library near you" go to WorldCat.The archive of Meister der Einbandkunst is at the University and Regional Library Münster.