Mehr W. Collin Stelleninserate aus der Berliner Volkszeitung
More W. Collin help wanted ads from the Berliner Volkszeitung
Wie hier berichtet, war es schon länger her gewesen, daß ich in European Library und ZEFYS
die digitalisierten Tageszeitungen durchsucht habe, und so kam es, daß
ich an einem Tag den ich mir frei nahm (wie in der Arbeit) vor dem
Bildschirm hockte. Von besonderer Interesse für mich, die Bestände
der Berliner Volkszeitung. Die Aufsätze und Inserate wurden durch die voll-text Suche der European Library gefunden. Da die Erkennung von Schriftzeichen mit den alten Schriften oft Probleme hat, bin ich mir sicher, dass es noch einiges mehr dort zu W. Collin gibt.
As reported here, it had been a long time since I last searched through the daily newspaper collections in the European Library and ZEFYS,
so during a day off from work I decided to spend it looking at a
screen... It seems that
since I last looked in mid-2015, that a lot more content had become
available online, most notably for me in the Berliner Volkszeitung. The articles and help wanted ads were found searching the full-text content, but as often happens with these older typefaces, the OCR left something to be desired. For that reason, I'm sure that there are still numerous ads and articles related to W. Collin to be found.
Mädchen geübt im Falzen und die mit der Drahtheftmaschine Bescheid wissen, 1892.
Girl with experience in folding, and who know there way around the wire binding machine, 1892.
Lederarbeiter auf Galanterie-Arbeiten, Damentaschen, Mappen, 1906. Leather worker for accessories, women's purses, and portfolios, 1906.
Portefeuiller für weiche Sachen und Damentaschen, und Buchbinder für bessere Sortiments-Arbeiten und bewandert im Goldschnittmachen, 1910.
Wallet maker for soft goods and women's purses, and bookbinder for better general
binding with experience in edge-gilding, 1910.
Im Januar dieses Jahres stellte ich einen W. Collin Einband zu Goethes Clavigo vor. Der Antiquar der mich angeschrieben hat war unter anderem auch daran interessiert den Einband zu datieren.
Back in January of this year, I shared images of W. Collin's binding on Goethe's Clavigo. The antiquarian had written to me and was interested in determining a date for the binding.
Heute, beim Stöbern bei ABE fand ich einen Hinweis zu noch einem W. Collin Einband an Clavigo, dieses mal mit dem Druckdatum von 1918.
Today, while browsing at ABE I found a listing for another W. Collin binding on Clavigo, this time with a publication date of 1918.
Clavigo. Ein Trauerspiel. München Verlag der Marées-Gesellschaft (R Piper & Co), 1918.
5 Bll., gest. Titel (von E. R. Weiß), 132 Seiten, Gr8° (23,4 x 17,6 cm), handgeb. Ganzpergamentbd. (sign. W. Collin Berlin) mit prunkvoller Ganzdeckel-Vergold., vergold. Innenfileten, Kopfgoldschnitt und olivgrünen Seidenmoiree-Vorätzen. Erschienen als 1. Druck der Marées-Gesellschaft in einer Auflage von 150 (insgesamt 200) numerierten Exemplaren auf Bütten. Dies ist die Nummer 47. - Sehr gut erhaltenes Exemplar in einem bibliophilen und signierten Meistereinband, der verzierte Original-Umschlag mit eingebunden.
Dem Antiquar Roman Heuberger geschrieben um zu fragen ob das Buch noch zu kaufen war, und ob es vielleicht ein Bild davon gab. Buch war vor Kurzem verkauft, aber Bilder hatte er...
I wrote to the Antiquarian Roman Heuberger expressing my interest in the book, and asking if he might have a picture of the binding. While the book had just been sold, he did share pictures with me.
Clavigo. Ein Trauerspiel. München Verlag der Marées-Gesellschaft (R Piper & Co), 1918.
Vom Entwurf und in der Gestaltung sehr ähnlich, fast zur Verwechselung, aber nur fast...
In terms of design and the overall presentation of materials and structure, these two are almost identical.
Halt! Nicht die Pleite oben, sondern die Vervollständigung meiner Falzbein Sammlung.
Wait! Not the disaster above, but rather completing my run of Das Falzbein.
Konnte endlich mein Set von dem Falzbein vervollständigen. Habe zwar 3 Jahrgänge doppelt (1948/49, '57/'58, und '59/'60), aber die Einbände sind schön, und so bin ich froh darüber. Das Falzbein war der Nachfolger von dem Buchbinderlehrling, und genauso DIE Zeitschrift für Lehrlinge im Buchbinderhandwerk nach dem Krieg.
Was finally able to complete my run of Das Falzbein. I do have some duplicates (1948/49, '57/'58, and '59/'60), but the bindings are wonderful so I'm glad to have them. Das Falzbein was successor to Der Buchbinderlehrling (1927-43), and like it, THE magazine for apprentices in the German post-war era.
In the post War Production - W. Collins "Affe"
back in April of 2015, I shared my find of a military pack made by W.
Collin. Ernst Collin had written several article on the impact of the
First World War on binderies, so it was nice to now have a direct
connection to that war effort in the form of that pack. I was also able
to show an image of a military belt made by W. Collin in my
history/bibliography, The Collins.
It had been a long time since I last searched through the daily newspaper collections in the European Library and ZEFYS,
so during a day off from work I decided to spend it looking at a
screen... Why should it be different from any other day... It seems that
since I last looked in mid-2015, that a lot more content had become
available online, most notably for me in the Berliner Volkszeitung.
My primary interest was searching for more article by Ernst Collin who
had been on the the editorial board of that publication and served as an
art critic... Glad I looked, 69 articles on art exhibits, artists, and
related topics. I also, of course, searched for W. Collin and found a
number of job ads, including some from 1914 related to war production...
In dem Aufsatz War Production - W. Collins "Affe", geschrieben im April 2015, teilte ich den Fund von meinem Tornister (auch Affe gennant) der von W. Collin hergestellt wurde. Ernst Collin hat mehrere Aufsätze über die Auswirkungen des Ersten Weltkriegs auf die Buchbinderei geschrieben, und so war es gut diese direkte Verbindung zu haben. I konnte auch einen Militärgürtel der von W. Collin hergestellt wurde in meiner Geschichte/Bibliographie Die Collins abbilden. Es ist schon länger her gewesen, daß ich in European Library und ZEFYS die digitalisierten Tageszeitungen durchsucht habe, und so kam es, daß ich an einem Tag den ich mir frei nahm (wie in der Arbeit) vor dem Bildschirm hockte. Warum soll ein Urlaubstag anders sein... Ich war zuletzt mitte-2015 dort, und in der Zwischenzeit wurde einiges mehr an Inhalten freigeschaltet, von besonderer Interesse für mich, die Bestände der Berliner Volkszeitung. Hauptsächlich wollte ich nach Aufsätzen von Ernst Collin der Kunstkritiker war und auch in der Redaktion dort saß. Die mühe hat sich sehr gelohnt, und ich konnte 69 Aufsätze über Kunst, Künstler, und verwandte Themen finden. Natürlich habe ich auch nach W. Collin gesucht, und habe dieses Mal einige Inserate gefunden, auch welche von 1914 die mit Kriegsproduktion verbunden sind.
From the/Aus der Berliner Volkszeitung, 30 December, 1914.
W. Collin is looking for female "quilters" who can work with electric saddlery machines
to make Tornister from canvas... and related items. Stepperinnen für Sattler-Maschinen zu Einfassen v, Segeltuch-Tornistern, Näherinnen, Elektr. Betrieb...
W. Collin is looking to buy underbelly (stomach) leather and scraps from the making of cartridge belts. Bäuche, Abfall von Patronen-Taschen-Leder kauft W. Collin...
In this series of classified ads, it was interesting to see the name of Rudolf Mosse appear several times. Mosse was a publisher (incl. the Berliner Volkszeitung), advertiser, and philanthropist. From these ads I would guess that his publishing plants were also pulled into the war effort. Like the Collins he was also Jewish.
Interessant zu sehen unter diesen Inseraten war auch der Name von Rudolf Mosse.
Mosse war Verleger (auch von der Berliner Volkszeitung), in der Werbebranche sehr Aktiv, und Mäzen. Den
Inseraten nach kann man entnehmen, daß auch seine Produktionsstätte in
der Kriegsproduktion tätig waren. Wie die Collins war er auch Jude.
As in the past 5 years, on May 31st, Ernst Collin's birthday (This would
have been his 131th) I share updates from my research and findings into
his life and work.
Wie in den 5 vergangenen Jahren gebe ich
am 31. Mai zum Geburtstag von Ernst Collin (dies wäre sein 131.
gewesen) eine Jahreszusammenfassung von Funden und Fortschritten an
meinem Projekt über die Collins.
The Italian deluxe edition from 1996. This copy #100. Sewn on parchment slips with leather spine and paper covered boards. Die italienische Vorzugsausgabe von 1996, dieses Exemplar #100. Geheftet auf Pergamentriemen mit Lederrücken und Papier bezogene Deckel.
Regrettably, the Boss Dog Press is still in the printing stage of the letterpress English edition... The prospectus is available if you are interested in the deluxe (with leather), regular (paper case), and loose sheet editions...
The download, print, and bind version
of that edition with different illustrations was made available, and
has been downloaded well over 600 times in the past year or so,
including for use in binding workshops.
Sehr leider läßt der Pressendruck meines englischen Pressbengels der Boss Dog Press noch auf sich warten. Das Prospectus hat aber alle angeben zu der Vorzugsausgabe in halb-Leder, der normalen in Kleisterpapier, und der losen Bogen zum selbst binden.
Die englische gratis Auflage mit Abbildungen aus Adam und Brade zum herunterladen, drucken und selbst einbinden wurde im letzten Jahr mehr als 600 mal heruntergeladen, auch für Buchbinderkurse.
W. Collin (and Ernst)
June 6th of 2016 saw the publication of my family history of the Collins (Wilhelm, Georg, Ernst) in online form, and in both English and German. As often happens (too often) some typographical and formatting errors got through, especially in the German version that needed to be corrected. Thank you online publishing.
Am 6 Juni letzten Jahres erschien meine buchbinderische Familiengeschichte der Collins (Wilhelm, Georg und Ernst) online auf Deutsch und Englisch. Wie oft (manchmal zu oft) passiert schlichen Fehler hinein die korrigiert werden mußten. Ein großes Dank an die digitale Welt wo das problemlos geht.
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
Included in the histories is also a title-level bibliographical listing of the publications of Ernst Collin. The master file for this is available separately online and in Google Drive...
As a result of the publication I was fortunate to have been contacted by collectors, antiquarians, and librarians who offered suggestions, and shared images of their bindings and other resources related to W. Collin in particular. In total, Die Collins and The Collins were downloaded over 150 times.
In
den Bänden gibt es auch eine bibliographische Auflistung nach Titel der
Schriften von Ernst Collin. Die Hauptdatei dazu gibt es auch hier und in tabellarischer Form bei Google Drive.
Als Resultat dieser Bänder wurde ich von Sammlern, Antiquaren, und Bibliothekaren angeschrieben die Fragen und Vorschläge hatten, aber auch Bilder von deren Einbänden teilten, sowie andere Hinweise zu ins besonders W. Collin hatten. Zusammen genommen wurden Die Collins und The Collins über 150 mal heruntergeladen.
Among these were the Bernsteinhexe and Die wahre Geschichte des Clavigo.
Dates are publication dates, not binding dates. The owners were largely
interested in determining the binding dates, in part due to
idiosyncrasies with the bindings.
Unter den Einbänden waren die Bernsteinhexe und Die wahre Geschichte des Clavigo. Daten sind die der Herausgebung, nicht des Einbands. Die Besitzer waren hauptsächlich an einer Datierung interessiert, teils weil die Einbände Einartigkeiten hatten.
Die wahre Geschichte des Clavigo (Hamburg, 1774)
On the other end of the bookbinding spectrum, W. Collin also provided covers for periodicals (further below in link). I described W. Collin producing trade bindings in an earlier post, and was surprised to find mention of W. Collin providing just the covers, in this case for the journal Pan.
Am anderen Ende der buchbinderischen Scala stellte sich heraus das W. Collin auch Einbandecken für Zeitschriften (weiter unten in dem Link) herstellte. Ich wußte, daß W. Collin Verlagseinbände herstellte, war aber überrascht zu "entdecken" das auch nur die Decken zum späteren Einbinden hergestellt hat, in diesem Fall für Pan.
Notice about W. Collin book covers
Hinweis zu W. Collin Einbanddecken
I also found this lovely W. Collin monogram designed by Otto Eckmann on eBay.
Auf eBay fand ich jüngst dieses schöne Monogramm von Otto Eckmann für W. Collin entworfen.
Otto Eckmann monogram for W. Collin | Otto Eckmann Monogramm für W. Collin
Below it is dropped onto the letterhead Eckmann designed for W. Collin... I had discovered the letterhead in an article by Walter Dammann on German
calligraphers. "Deutsche Schriftkünstler der Gegenwart," Das Plakat,
Berlin-Charlottenburg, Vol 12, 1921.
Unten habe ich es in den Briefkopf den Eckmann für W. Collin entwurf eingefügt. Ich hatten den Briefkopf in einen Aufsatz von Walter Dammann über deutsche Schriftkünstler gefunden. "Deutsche Schriftkünstler der Gegenwart," Das Plakat,
Berlin-Charlottenburg, Vol 12, 1921.
Otto Eckmann letterhead for W. Collin | Otto Eckmann Briefkopf für W. Collin
Finally, it has been nice to see the work I have done around the Collins over the past years begin showing up in antiquarian dealer and auction listings. Below two examples, one for the bindery of W. Collin, and one for Der Pressbengel.
Zum Schluß ist es schön zu sehen, daß meine Bemühungen um die Collins in den letzten Jahren anfangen in antiquarischen-/versteigerungs- Listen erwähnt werden. Unten zwei Beispiele, eins für eine Mappe von W. Collin und eins für ein Exemplar des Pressbengels.
The Ponderings of a Bookbinding Student: Why bookbinding? A discussion between a student and her mentor.
Introduction: This series of posts was prompted by questions from Sarah Kim a long-term work-study student of mine at Syracuse University Libraries who is now enrolled in the Bookbinding
program of the North Bennet Street School in Boston, fulfilling a dream
she’s had for some time. The “interview” is spread out over several
posts, so check back regularly… This is Part 4. See here for part 1, part 2, part 3.
Sarah: What do you hope to see from younger people studying books (like students from NBSS, or library science students)?
Good question, and will respond based on my personal experiences and pet peeves from being a listowner, employee, supervisor, mentor, and gadfly/curmudgeon for 30+ years.
I think the most important thing to remember is that no matter what your situation, acknowledge what you don’t know, and that you still have lots of mistakes to make. Keep good notes and keep building your reference and tool collections – you can never have enough, and your heirs (perhaps future mentees?) will thank you. Start a file for any and all clippings, mentions, ... of you and your work, and organize it – useful for when you become famous. Getting covered in the local press (please not as the last bookbinder in the world practicing their lost art under the stairs) is a good start. For your first positions find ones where you will be working under good supervision and hopefully mentorship. Resist hanging out your shingle and going solo right away. Working with/for others allows you to build on what you learned, exposes you to new ways of doing things (even the same things), provides other perspectives, and hopefully a steady stream of work with which you can push yourself and take risks knowing there will be someone to bail you out (or tell you what you could have done to avoid it…). Remember those teachers even when you move on, even if the experience was not your favorite (don’t burn/neglect bridges), and share updates. This doesn’t take much effort long term, and could lead to referrals or even references down the road. If they don’t remember you there won’t be much point in providing anything meaningful.
In terms of goals, especially for the North Bennet Street, Alabama/Iowa type book arts students, aim high, don’t all set out to make journals… Acquire nice fine press, better publishers' textblocks, or ones you can download that can be sewn to bind – these are more interesting than endless blank books. You can often find 1st editions of significant literature for not a lot of $$$ because the bindings are damaged. Textblocks not sewn? Fancy them up like NBSS grad Henry Hebert has done. Liked the term so much I appropriated it. Try to get good edition/production work to develop those chops and muscle memory, something that only repetition can really provide. Find books that interest you (or that you can sell), and create bindings in response to the texts/illustrations. While “self-referential,” books about books can often provide blank canvases on which you can let your creativity be less constrained. Enter exhibitions, set book, themed, or open, non-juried and juried. Local/regional groups are great places to get that first experience, and colleagues will be able to (hopefully positively) critique and provide feedback, something less likely in national shows. Chicago Hand Bookbinders, was a great group in that regard when I first started entering exhibits back in the late 80s. Think about repair and conservation work as well. That's where the jobs
are in institutions, and most likely where your bread and butter will
come from if on your own. That would include things like Bibles,
cookbooks, children's books, ... that often hold deep sentimental value.
And in all things, make sure to price your work fairly, including to
you.
Ask lots of questions wherever you find your “community,” IRL or online, but think about the question before asking. Is there research you might want to do before asking to help form a better question. Provide all the context you can, provide links to images, ... so that the respondents don’t have to guess or the conversation devolves into an endless cycle of follow-up questions. Don’t assume everything is online and free. The best stuff is in people’s heads, hands, and print. Most of this kind of knowledge cannot be crammed into a tweet, so be prepared to express yourself long-form. Develop good information literacy skills so that you can discern credible sources from the not so credible ones. There is a lot of information that gets passed around that is just bad, or devoid enough of context to be dangerous. Learn to recognize names. Use your real name or that of your business consistently and have a “signature” that provides basic contact/descriptive information. It shows seriousness and gives more credibility. This goes for websites and blogs, too. Provide a bio and contact information. If not your home address, at least what city/state… Websites evolve, so don’t expect them to be perfect the first time around. That said, don’t take them down while you figure out what you want, just tweak, and then release a new look/content when you’re ready. You want to develop your own brand, nurture, and sustain it long term.
I hope to see all of you engaged in the “profession” and become lifelong learners who also contribute actively to the continuation of what we do through their good work, teaching at whatever level, exhibiting, publishing, sharing, … To become mentors like you hopefully had for the next generation. This also carries over to becoming engaged and active in member organizations that contribute to building connections between all of us like the Guild of Book Workers (GBW), the Canadian Bookbinders and Book Artists Group (CBBAG), Designer Bookbinders (DB), Society of Bookbinders (SoB)... Designer Bookbinders have the best journal, so even though UK focused are well worth it. Membership in all more or less the same and a value. All also have regular exhibitions to enter, though most require you to join.
Sarah: I feel like our society today still pressures young people to get a college education. How do you think North Bennet Street School, and other vocational schools, fit into this conversation?
Int'l Brotherhood of Bookbinders pin.
Ca. 1.5 cm wide.
The trades, including fine crafts, have been marginalized by the idea that everyone has to go to college, including advanced degrees. This has been going on for a long time. Depending on your goals and desired work environment college/advanced degrees may be required, e.g. working as a conservator in a research library/museum environment is one of those situations. Even in private practice, some kinds of grant projects you may find yourself bidding on will have educational/certification requirements.
That said, I wish this country had a well developed system of learning trades, something that would benefit almost all industries and trades. On a national, or even trade-by-trade basis, it would be difficult to build in uniform standards and learning outcomes that are essential for the “degrees” (certificates, certifications, …) to be portable. On a statewide basis that may be possible, especially if coordinated by community colleges and allied programs. There would have to be partnerships with the trades and the business that make it up to ensure that the apprentices/trainees get the practical AND theoretical knowledge in the mechanics of the trade, but also running a business and best practices for that so that they can succeed. They also need and access to networks of peers and mentors. The apprenticeship should have a fixed duration and be paid. After completing their apprenticeships, the newly minted “journeymen” should either be hired by the companies they worked in or be able to find work in others. The former option is common in larger industries - the industry investing in developing its own workforce. It’s a topic I’m glad is seeing more coverage in the mainstream press.
So, this could work for “popular” trades like welding, plumbing, electrical work, construction, … What about fine crafts like bookbinding? Harder because the critical mass of businesses is not there across a broad geographic area and the jobs and work that support them are also not as plentiful as we would like. What core competencies and certification would be broadly agreed upon and available? A North Bennet Street diploma is recognized as are MFA’s but what about for people beyond these, the autodidacts and people in the “fly-over” states. The Guild of Book Workers once thought about certification in some form, but couldn’t agree enough to flesh out the idea. AIC has voted on it at least once and failed, but does have a peer-reviewed Professional Associate and Fellow category. Graduating from a recognized conservation program provides a strong credential, but what about those that entered the field via apprenticeships, also those most likely to work in private practice...
Int'l Brotherhood of Bookbinders convention ribbon from 1942.
Then, there is the question of whether people care. After all, we’re not practicing medicine, law, or building airplanes/bridges… This is a question that came up often in AIC discussions, where the hope for certification was a form of regulating the trade and who could practice it akin to the medieval guilds (or modern ones in places like Germany). What would we hope to gain from this certification beyond learning the basic ropes of the trade? Access to group rates for health insurance, accidental death and dismemberment insurance, 401K plans?
I would love to see a flourishing educational and practicing skilled trades and craft “scene,” and feel it could elevate what we do, but only if we (those who practice it) also strongly identify with it and help advertise that greater idea (like displaying diplomas on wall in professional offices). We should also help develop and share educational materials about the trade wherever we appear, kind of like that old ad campaign of looking for the union label.
That brings me back to being professional engaged, and not just looking for the benefits of membership, but “simple” things like actively seeking out PR opportunities and working in the greater field we work in and member organizations in a sustained way. Building those relationships into our individual brands as well so that the general public starts to recognize it… Yes, it’s work, but if a natural extension of what we do becomes second nature.
So, let me flip the question. What do YOU, the reader, student of the craft, budding entrepreneur think? What are you looking for and what are your desired outcomes? Does a structured education/career in the trade matter to you? Are there things you aren’t interested in/willing to do for your career in the trades/crafts? Does any of this matter, and to whom?
Share in the comments below…
Int'l Brotherhood of Bookbinders stamping die (Backwards, obviously)
Ca. 1.5 cm wide.
