Shelf Secrets

Tracing Histories of Humboldt University Library Books

Berlin University Alliance
Humboldt-Universität zu Berlin
Bundesministerium für Bildung und Forschung
Senatsverwaltung für Wissenschaft, Gesundheit, und Pflege

Exhibit Introduction

Deutsch | English

What can we learn from studying books not just as texts but as material artifacts? Whether an expensive Bible or a cheap Reclam paperback, every book contains physical evidence that reflects the circumstances of its production. Often, books also contain visible traces of past readers, uses, and collecting practices, which can reveal how individual books were acquired, interacted with, and stored—while also illuminating broader histories of knowledge, reading, and the everyday.

Every copy of a book has its own biography—a life story shaped by experiences as well as origins.

This exhibit traces the histories that unfold from seven books shelved in Humboldt University of Berlin's general library collection. Although books housed in special collections libraries and rare book rooms have typically received most attention from researchers, a growing body of scholarship has demonstrated that books stored on the ordinary, open shelves of university libraries can also reveal crucial historical insights.¹ This is particularly true for libraries such as Humboldt that have been building their collections since the nineteenth century. Inscriptions, objects, and annotations inserted by readers in circulating copies challenge assumptions that seemingly identical copies of any given edition are not worth the shelf space. Meanwhile, provenance evidence such as bookplates and collection stamps can reveal historical practices and acquisition pathways otherwise hidden from view.

The books profiled here provide a snapshot of a major German university library's diverse collections from the late nineteenth century to the present day. Considered together, these books represent a wide range of languages, genres, topics, formats, publishing practices, and collecting histories. They also demonstrate the many pathways for discovery that emerge from attending to books as unique artifacts.

Embedded in the history of the books featured below are stories of royal owners and ordinary families; of publishers persecuted for their identities and beliefs; of the changing aesthetics of luxury and mass production; of the surprises that even familiar texts hold when republished in new editions. This exhibit invites you to explore these stories.

See for example the Looted Cultural Assets Project; the Rotunda Library Online; Andrew M. Stauffer, Book Traces: Nineteenth-Century Readers and the Future of the Library (Philadelphia: University of Pennsylvania Press, 2021); and Samuel V. Lemley, Neal D. Curtis, and Madeline Zehnder, "Historical Shelfmarks as Sources for Institutional Provenance Research: Reconstructing the University of Virginia's First Library," The Papers of the Bibliographical Society of America 118, no. 1 (2024): 79-101.

"Shelf Secrets" seminar at the Leipzig Museum of Printing Technology. From left: Lili, Emmeli, Tristan, Polina, Emil, Sofía, Madeline, Lea, Emma.

Each section of this exhibit was curated by a student member of the 2024-25 Berlin University Alliance X-Student Research Group Seminar "Shelf Secrets" (instructor Dr. Madeline Zehnder). Seminar participants independently selected books from the HU library and spent the semester researching their books—while also studying foundational book historical concepts and methods, discussing new research in the field, and experimenting with the art of letterpress printing.

Although the exhibit's different curators take different approaches to analyzing their books, each section below is organized by three shared categories: Origins, Design, and Readers & Uses.

Books and curators:

Histoire du siècle 1789-1889 (Paris, 1889)—Lili Csóti
Wanderungen und Gedanken. 2. Comte und die Göttin Clotilde (Berlin, 1921)—Lea Weiß
Plakat Handbuch. Jacques Albacharys Führer durch das Plakatwesen (Berlin, 1928)—Emma Budahn
Of Human Bondage (London, 1938)—Tristan Brennwald
Taʾrīḫ al-ḫaṭţ al-ʿarabī wa-ādābuhu (Cairo, 1939)—Polina Shablovskaia
Hitler Sobre America Latina (Mexico D.F., 1968)—Sofía Comelatto
Alice's Adventures Under Ground (London, 1985)—Emmeli Jessat

A Brief History of the Humboldt University Library

Library stamps bearing the logos of the University of Berlin (top) and Humboldt University (bottom).

Humboldt University was founded in 1810 as the University of Berlin. As different library stamps visible in this exhibit's books illustrate, the university has undergone several name changes over the course of its history. From 1828 to 1945, the institution was known as Friedrich Wilhelm University. From 1945 to 1949, it was once again called the University of Berlin. And since 1949, it has been known as the Humboldt University of Berlin.¹

Humboldt-Universität zu Berlin, "Geschichte der Humboldt-Universität zu Berlin," last modified 18 May 2016.

Early university students consulted books and other materials housed in the Royal Library (today's Berlin State Library), but changing needs led the university to found its own library in 1831. The library's initial budget was low and controlled by the Royal Library. As a result, the early collection grew primarily through "book exchanges," the acquisition of scholars' libraries, and legal deposits, to which the library retained the right until 1970.¹

In 1870, the granting of an independent budget allowed the library to develop its collections in a more comprehensive manner. However, the library's initial acquisition model persisted in ways still visible in the collection today. In this exhibit, you will encounter books previously owned (Histoire du siècle) and created (Hitler Sobre America Latina) by Humboldt professors. You will also encounter books acquired from other German libraries and institutions, including the Industrie- und Handelskammer zu Berlin (Plakat Handbuch) and the Nah- und Mittelost Verein (Taʾrīḫ al-ḫaṭţ al-ʿarabī wa-ādābuhu).

University Library of Humboldt-Universität zu Berlin, "Geschichte der Universitätsbibliothek," last modified 15 January 2023.

Bundesarchiv_Bild_146-2006-0130,_Berlin,_Humboldt_Universität.jpg

University buildings and the Bebelplatz in 1938. Photo by Otto Hagemann.

Book acquisition is not always a neutral process. From 1933 to 1945, university library acquisitions included materials looted by the Nazi regime. As of 2025, research to identify looted books in the Humboldt University library is still ongoing.

Surprisingly, the library's collection survived World War Two with relatively little damage. The library was also unaffected by an infamous 1933 Bebelplatz book burning, which Nazis orchestrated across the street from Humboldt's main building. Titles burned during this event remained on Humboldt library shelves, as did books by authors critical of the regime—such as Max Hochdorf, whose Comte und die Göttin Clotilde features in this exhibit.

Bound paper catalogue displaying the library's early records of books by Max Hochdorf. Photo by Lea Weiß.

Today, the Humboldt University library operates as a centralized system that consists of a main library (the Jacob and Wilhelm Grimm Center) and nine branch libraries. Books in this exhibit are primarily housed in the Grimm Center, with the exception of Alice's Adventures Under Ground (Foreign Languages/Literatures Branch Library) and Taʾrīḫ al-ḫaṭţ al-ʿarabī wa-ādābuhu (Asian-/African Studies and Islamic Theology Branch Library).

As the university's library has evolved, so have its systems of organizing, storing, and recording information about its books. Thanks to the foresight of Humboldt librarians, the library's pre-digital catalogues have been largely preserved—and have made valuable sources of information for research on the older books included in this exhibit.

The Books

Histoire du siècle 1789-1889 (Paris, 1889)
Comte und die Göttin Clotilde (Berlin, 1921)
Plakat Handbuch (Berlin, 1928)
Of Human Bondage (London, 1938)
Taʾrīḫ al-ḫaṭţ al-ʿarabī wa-ādābuhu (Cairo, 1939)
Hitler Sobre America Latina (Mexico D.F., 1968)
Alice's Adventures Under Ground (London, 1985)

01

Histoire du siècle 1789-1889 (1889)

Bookshelf showing "Histoire du siècle," center, surrounded by other titles. Photo by Lili Csóti.

A memory from 1889 in the HU library

Walking through the maze of shelves in HU's central library, you will find a wide variety of books. In some corridors, where the only other human being you are likely to meet is a librarian, bundles of obscure journals, old book series, and encyclopedias sit on shelves so lonely that your mere presence stirs the dust on them. But there are also sections of the library where mysterious older volumes hide among modern bindings of different sizes and bright colors.

That's how this book caught my eye—a slim, worn, leather-bound volume with gilt flowers on the spine and no author inscription, just a title and a date: Histoire du siècle 1789-1889.

The Histoire du siècle is the oldest book on its shelf; its neighbors were all published after 1987. Their subject matter is mainly French history and genre painting or political iconography. However, unlike the book profiled in this section, they are all academic works by art historians. In comparison, the Histoire du siècle seems more like a work of art itself.

Front cover and spine of "Histoire du siècle." Photos by Lili Csóti.

To hold the Historie du siècle is to hold a delicate and elegant artifact that needs to be handled with care. With its thin, aged pages, the book is as fragile as the small gold flowers that decorate its spine.

Inside the book, the red-black-yellow marbled endpaper bears the bookplate of one Princess Radziwill, offering a glimpse into this particular book's unique past.

Bookplate of Princess Radziwill. Photo by Lili Csóti.

Title page of "Histoire du siècle." Photo by Lili Csóti.

This publication was originally a guide to the monumental panoramic painting of the same title in the Jardin des Tuileries for the Paris Exposition of 1889.¹ Here, this magnificent work of art is reduced to a pocket-sized, portable form. The book's text, which is only 17 pages long, is accompanied by 24 illustrations, which each form 12 pairs: a detailed lithograph and an explanatory figure. On the book's title page, the names of the two painters appear first, with the text author's name following behind them.

Danielle Derrey-Capon et al., Alfred Stevens (1823-1906) et Le Panorama de l’Histoire Du Siècle (Ghent: Snoeck, 2009), 137, 131.

We usually think of exhibition guides as disposable explanatory aids. In this case, however, it has been carefully preserved and has found its way into the twenty-first century. The story of this little book's journey from the Paris of 1889 to the HU library of our own time is thus worthy of investigation.

Click magnifying glass to expand image.

Panorama fragment showing Napoleon III and Empress Eugénie (left) and its photographic reproduction in "Histoire du siècle" (right).

William J. Hammer's wax cylinder recording of a balloon ride above the 1889 Paris Exposition. Photo by Alphonse Liébert, 1889 (Library of Congress).

1889, Paris

The Eiffel Tower, a monument that will soon become the symbol of the city, has just been built. At its foot, the so-called Exposition Universelle, or Paris Exposition, has opened its doors to the public. Visitors arrive from around the world to participate, exhibit, or just enjoy the festivities, inventions, and art. The organizing French, celebrating the centenary of the French Revolution, aim to make a strong impression on visitors, seeking not only to provide a place to exhibit and experience the progress of mankind, but also to showcase the power of the country. One of the attractions designed to reaffirm France's stability and strength was the panoramic painting by Alfred Stevens and Henri Gervex entitled Historie du siècle.

Historie du siècle: A panoramic painting and a pocket-sized guide

The painting was intended to inspire French national pride by depicting the 640 or so personalities, writers, artists, politicians, revolutionaries, soldiers and scientists who made the history of France between 1789 and 1889.¹

By its very nature, the installation was immersive; panoramic paintings with various settings and built-in mechanisms were one of the most sought-after visual attractions throughout the nineteenth century. The 120-meter-long canvas of the Historie du siècle was placed in a circular building to surround visitors on all sides, as if they were also attending the anachronistic garden party depicted in the painting.

But this wasn't something visitors could experience just once: the organizers made sure that this monument to French history would not be forgotten once the festivities were over by publishing a richly illustrated guide. The entire project, including the production and publication of the guide, was financed by the Société anonyme de l'histoire du siècle 1789-1889, a group of shareholders formed to invest in the Paris Exposition—a novelty, as it was the first time that private patrons had contributed to the organization of a world exhibition.² Their stamp sits in purple ink in the upper right-hand corner of the half-title page to indicate their involvement in the exhibition preparations. They entrusted the reproduction of the painting to the photographer Pierre Petit, while the printing was the responsibility of Floucaud & C^ie, who also produced the poster for the Panorama exhibition itself.

For more information see the exhibition catalogue Alfred Stevens (1823-1906) et le panorama de l’Histoire du siècle (Derrey-Capon et al. 2009).
Derrey-Capon et al., Alfred Stevens, 150–53; Bureau International des Expositions, "Expo 1889 Paris" (accessed 24 January 2025).

Stamp of the Société anonyme. Photo by Lili Csóti.

Lithograph advertising the "Histoire du siècle" Panorama (1890). Bibliothèque nationale de France.

Image legend and panorama section reproduction in "Histoire du siècle." Photo by Lili Csóti.

A gigantic painting in a small book

Histoire du siècle is a surviving artifact from a historical event that most people have no connection with today. But when we hold it in our hands, the book invites us to feel part of a celebration that took place more than 130 years ago, echoing how the panorama itself once invited visitors to feel a sense of inclusion in the painting around them. This effect is achieved by a number of design choices.

The title page immediately introduces the two leading painters of the project, Alfred Stevens and Henri Gervex, under the capitalized title "Peinture" ("Painting"), making it clear that they are the main creators of this publication. The panorama is reproduced in twelve images. Together with the accompanying explanatory drawings, which enable the visitor to identify the many figures in the painting, the images are undoubtedly the most important part of the publication. They are printed on thick white paper, with two full pages for each pair of photographs and diagrams—one for the reproduction itself and one for the accompanying explanations.

A close look at the photographs reveals small additions, in particular fine outlines that have been added to the photographs to sharpen the images and bring out details in places where the photograph itself is not able to replicate the nuances of the original painting. In this case: the folds and shadows of the lady's dress.

Foreword by Joseph Reinach in "Histoire du siècle." Photo by Lili Csóti.

The foreword

The reproductions and explanatory drawings were not the only elements that helped visitors navigate the monumental artwork. The opening words are written by Joseph Reinach, the French politician, journalist and essayist. His short text reads like a commentary on the painting and surveys the cast of characters who appear in the panorama—the most prominent French personalities of the preceding century, who are all shown attending a lavish garden party.

Within Reinach's text, the names of the characters stand out from the text in capital letters, making it clear when a person is mentioned who can also be discovered in the panorama. The pages of this half of the book are made of a thinner paper that indexes the passage of time: unlike the snow-white pages of the lithographs, these pages have yellowed in the 130 years that have passed since the guide was published.

Au pied de la statue équestre du génie ailé qui sonne la diane du siècle, [Jacques] NECKER, son compte-rendu à la main, l'austère et probe Genevois, aborde [Jean-Sylvain] BAILLY. Hier, l'Académie; aujour d'hui, l'Hôtel de ville où il déploiera le premier drapeau trico-lore; demain l'échafaud où il ne tremblera que de froid.

At the foot of the equestrian statue of the winged genius who sounds the Diane of the century, [Jacques] NECKER, his report in his hand, the austere and probing Genevois, approaches [Jean-Sylvain] BAILLY. Yesterday, the Academy; today, the Town Hall, where he will unfurl the first tricolour flag; tomorrow, the scaffold, where he will tremble only with cold.

Joseph Reinach, Histoire du siècle, 7. Translation by Lili Csóti.

Panorama fragment and image legend in "Histoire du siècle." Photo by Lili Csóti.

Princess Marie Dorothée Élisabeth Radziwill, c. 1869.

A special owner: Princess Radziwill

Although the primary function of this publication was to guide Exposition visitors through all 120 meters and some 660 figures of the Panorama, it also served a secondary, souvenir-like role. While the booklet is a condensed, mass-produced reduction of the original, its quality, obvious attention to detail, and even the foreword written by a prominent French politician show that it was always intended to be more than a disposable guide. The fact that the original owner of the Humboldt copy, Princess Radziwill, kept the book and added it to her personal library also supports this theory.

The princess was born Marie Dorothée Élisabeth de Castellane in 1840. She was a French aristocrat who in 1857 married Prince Antoni Wilhelm Radziwill, an important member of both the Polish-Lithuanian nobility and the Prussian army. She is considered one of the most influential female figures of her time, having shaped the political and cultural landscape of Berlin with her salon.¹

Such a prominent owner raises the question: are there any sisters of the Histoire du siècle somewhere in the library? The answer is yes, and these books shed even more light on how this particular book, which is almost a work of art itself, ended up on the open shelves of a university library.

For more information on her life see Günter Erbe, Das vornehme Berlin: Fürstin Marie Radziwill und die großen Damen der Gesellschaft 1871–1918 (Köln: Böhlau, 2015).

The books of Princess Radziwill in the HU library

In addition to the Histoire du siècle, there are six other books in the Humboldt library with the princess's bookplate. Three of them also contain the ex-libris of another person. The binding of one book is identical to that of the Histoire du siècle; the other five bear a striking resemblance to each other. Two of them carry the press mark of the Humboldt University library on their covers. And one contains a handwritten note by a librarian cataloging the collection. Let us try to reconstruct, on the basis of these markings, a possible sequence of events concerning the journey of Histoire du siècle to HU.

All seven books (including the Histoire du siècle) bear the bookplate of "Princess Antoine Radziwill" on their endpapers, but they are not identical. Two books, Joachim Murat by Jules Chavanon and Georges Saint-Yves (1905) and André Maruel's Petites villes d'Italie: Toscane - Vénétie (1906), have a bookplate with a simpler typeface and a somewhat simplified decorative border. Since these two books are also the most recent publications with Radziwill bookplates, this design likely represents a later, perhaps modernized version of the ex-libris.

HU library books with Princess Radziwill's bookplates. Photo by Lili Csóti.

At the bottom of the endpaper of Joachim Murat, there is another mark: a note about the acquisition of the book, likely made by a librarian. It reads "aus dem Vermächtnis Alois Maria Lautenschläger" ("bequest of Alois Maria Lautenschläger").

Click magnifying glass to enlarge image.

Bookplate (left) and portrait (right) of Alois Lautenschläger. Portrait courtesy of Stadt- und Stiftsarchiv Aschaffenburg.

Dr. Lautenschläger

Alois Lautenschläger is the person whose bookplate appears in three other Radziwill books. These bookplates state "Vermächtnis des Dr. med. Alois Maria Lautenschläger in Berlin–Grünewald" ("bequest of Dr. med. Alois Maria Lautenschläger in Berlin-Grünewald"). He was a Berlin-based otolaryngologist and art collector practicing in the first half of the twentieth century.¹ As a member of the Nazi Party, he held a secure position that allowed him to collect and retain artifacts ranging from rare books to paintings.²

The presence of his bookplate in these three books (Lettere edite ed inedite di Camillo Cavour, Lettres du maréchal, and Mémoires de la Ctesse. Potocka) and one with the note from the librarian (Joachim Murat) suggest that these copies first came into the possession of the doctor and then, after his death, were donated to the library as part of his estate around 1944.³ However, the situation is further complicated by the fact that not all of the books that once belonged to the princess—the Histoire du siècle among them—bear Lautenschläger's bookplate.

Aschaffenburg Online, "Aloys Maria Lautenschläger" (accessed 24 January 2025).
For more information see Aschaffenburg City Archive, "Dossier Aloys Lautenschläger" (accessed 7 March 2025).
For providing the books' arrival dates I thank Henrik Hofer from the Sondersammlungen of the Humboldt University library.

What is known is that Histoire du siècle is the second oldest book from the collection of the princess in the Humboldt library. Its binding is identical to that of the oldest book, Lettere edite ed inedite di Camillo Cavour (1887). From the marbled paper on the covers and endpapers, to the red painted sides of the pages, to the style of the spine and the intricate gold floral details, these two books clearly belong together, even without any knowledge of the bookplates.

All the other Radziwill books are bound in a different style, with a combination of dark brown and a lighter red-brown leather, matching marbled sides, and a more modern spine design. Although at first glance it would be easy to assume that they were all bound for the same library, the fact that only two books bear the Humboldt library's press mark suggests that not all the books necessarily came from the same place or at the same time.

Library stamp (left) and portrait (right) of Tilmann Buddensieg. Photo of stamp by Lili Csóti. Portrait of Tilmann Buddensieg © Barbara Herrenkind.

An honorary HU Professor

While tracing the history of all the books originating from Princess Radziwill seems challenging at this point, the Histoire du siècle itself offer one more clue: just above the stamp of the Humboldt University Library is another, barely legible one: "Bibliothek Buddensieg."

Tilmann Buddensieg was a renowned German art historian who became an honorary professor at Humboldt University in 1955. He died in 2013, so it is possible that the book of Princess Radziwill entered the Humboldt Library either after his passing or as a donation to the institution of which he was an honorary professor.

Conclusion

Histoire du siècle and her companions from the library of Princess Radziwill present many still-unanswered questions. What we know for certain is that this little book holds many more secrets than anyone wandering through the library halls could suspect at first glance. It was once a practical guide to a busy, bustling exhibition more than 130 years ago. Then it became a souvenir, an object that held the precious memories of Princess Radziwill. It may have joined the collection of Dr. Alois Maria Lautenschläger before entering the possession of Tilmann Buddensieg, after which it came into the collection of the Humboldt University library, where it was placed on a shelf among books written about the same period and events that this book once witnessed firsthand.

02

Comte und die Göttin Clotilde (1921)

Introduction

While I was looking for a different book, I found Comte und die Göttin Clotilde by accident. What first caught my eye was a group of small books crowded together on an open library shelf, which I would later discover belonged to a series known as the Orplidbücher. Of those nearly fifty books, I was drawn to this one because of its title: Auguste Comte is an important name in the history of sociology, and I hoped to find content related to that subject. The book instead contained essays including a book review of a humorous novel about Comte—but at this point I was already interested in the many other questions that this book posed.

I wanted to know about the author behind the book, Max Hochdorf, whose work was banned in Nazi Germany and seems mostly forgotten today. What was his connection to Berlin and its intellectual circles in the late 1910s and early 1920s? What made him publish with Axel Juncker, particularly since Hochdorf was one of the only authors who published in the series multiple times?

I also wondered about the Orplidbücher. What was the history of this series and how did it relate to the publishing culture of the time? Why was it discontinued, while other series such as the "Insel Library" became very popular? What was behind the small, handy format in combination with the books' rather elaborate design? Were they made with a specific audience in mind? What also struck me was the bad shape that many of the other Orplidbücher were in, raising questions about the history of this particular collection at HU.

Humboldt's copy of Comte und die Göttin Clotilde is a first edition that the university library purchased shortly after the book was published. According to WorldCat, other copies can be found in Berlin (Staatsbibliothek), Leipzig (Deutsche Nationalbibliothek), Erlangen (Universitätsbibliothek), Munich (Bayerische Staatsbibliothek) and, interestingly, Brighton (Sussex University Library). During the project, old library catalogues and accession journals answered some of my questions, while labels in the book itself posed new questions about the history of the Humboldt University library's collection.

Two versions of "Comte und die Göttin Clotilde." Left: HU library copy. Right: personal copy (collection of Lea Weiß). Photos by Lea Weiß.

Front cover close-up of "Comte und die Göttin Clotilde." Photo by Lea Weiß.

Comte and the Goddess Clotilde

Comte und die Göttin Clotilde. Der Wanderungen und Gedanken zweiter Band ("Comte and the Goddess Clotilde. Rambles and Thoughts, Volume 2") was published in 1921 by Axel Juncker in Berlin-Charlottenburg.¹ It is the second of two connected collections of essays written by the author Max Hochdorf.² Printed by the long-standing printing house Dietsch & Brückner in Weimar, the book is volume 45 in the series Orplidbücher, which published prose, poetry, essays, and illustrations in a distinctive small format until the mid-1920s.³

Translations from German to English by Lea Weiß.
The first volume: Max Hochdorf, Wanderungen und Gedanken. Die letzte Tat des Jean Jaurès (Berlin: Axel Juncker Verlag, 1919).
Michael Knoche, "Wie sich ein Privatverlag in der sowjetischen Besatzungszone behauptete – Hermann Böhlau Nachf., Weimar," October 1, 2018.

Max Hochdorf, 1913.

Max Hochdorf: A novelist, journalist, and theater critic

Max Hochdorf (1880-1948) was a German-Jewish writer, playwright, translator, and theater critic. Born in Szczecin, Pomerania, he studied law and Slavic studies in Munich and Genoa and graduated in Fribourg with a dissertation on Gottfried Keller.¹ His early published literary work is mainly prose. Between 1909 and 1913, he published four novels. Works including Das Leiden der Simoni (Berlin: Axel Juncker, 1910) and Die Träume der Nathalie Braunstein (Berlin: Egon Fleischel & Co., 1912) address topics of Jewish life in Germany between assimilation and discrimination.² As literary scholar and historian Itta Shedletzky notes, literary discussions of the ideal Jewish novel took place in German-Jewish magazines from the popularization of the novel in the 1870s until the mid-1910s.³ In a 1911 issue of the Allgemeine Zeitung des Judenthums, literary critic Ludwig Geiger would remark of Hochdorf : "A pity that the author wastes his certainly existing great talent on such sketches [....] Maybe he has what it takes to write the Jewish novel we have long hoped for."⁴ Instead, Hochdorf moved to Berlin and started to publish short stories, translations, and essays—among others, the two volumes of Wanderungen und Gedanken.

Hochdorf's time in Berlin lasted from 1918 to 1933, when he emigrated to Belgium due to the Nazi takeover of power. In the mid-1920s, Hochdorf was active as a playwright, with productions in Lübeck, Neubrandenburg, Kottbus, and Berlin.⁵ An anonymous theater critic characterizes Hochdorf "as a seeker, inexpert and free, who searches only by the probe of his rich experience, behind all things the heart of men and the meaning of the world."⁶ In Berlin, Hochdorf's involvement with the theater world was manifold: he managed the press for for the Guild of the German Stage (GDBA) and was a theater critic for Vorwärts, the central organ of the Social Democratic Party of Germany (SPD).

In the 1930s, amid the Nazi party's rise, Hochdorf's literary work became political and admonitory. In 1930, he published Die große Trommel. Leben, Kampf und Traumlallen Adolf Hitlers (Berlin/Zürich: Deutsch-Schweizerische Verlagsanstalt), a psychogram and political analysis of Hitler and "an attack on National Socialism," under a pseudonym.⁷ At the same time, he turned to the history of socialism: Rosa Luxemburg: Das Leben einer Revolutionärin (Berlin: Verlag der Neuen Gesellschaft, 1930) and August Bebel: Geschichte einer politischen Vernunft (Berlin: Verlag für Kulturpolitik, 1932) are both biographies of important socialist figures.

In 1933, after the Nazi takeover, Max Hochdorf emigrated to Belgium and later, in 1936, to Ascona, Switzerland. In 1938, his writing was forbidden in Nazi Germany.⁸ In 1940, his wife Erna Hochdorf, born Olsen, was officially deprived of citizenship.⁹ In 1941, he returned to Belgium, where he lived in Brussels under a false name until 1944. During this time, he continued his journalistic work and wrote serials for the German-language exile newspaper Pariser Tageblatt, later Pariser Tageszeitung.¹⁰ After his death in 1948, his friend Manfred George honored his extensive work: "what seems impossible in this country, that someone is at the same time expert for foreign affairs and plays, was in the Hochdorf generation the prerequisite of a journalist."¹¹

Max Hochdorf, Zum geistigen Bilde Gottfried Kellers (Zürich: Amalthea-Verlag, 1919).
Archiv Bibliographica Judaica, eds., Lexikon deutsch-jüdischer Autoren. Band 12, Hirs – Jaco (München: K. G. Saur, 2008), 118.
Itta Shedletzky, Literaturdiskussion und Belletristik in den jüdischen Zeitschriften in Deutschland 1937-1918 (Dissertation, Hebrew University Jerusalem, 1986), 140.
"Schade, dass der Verfasser seine sicherlich vorhandene große Begabung an solchen unangeführten Skizzen verschwendet [....] Vielleicht besäße er das Zeug, den jüdischen Roman zu schreiben, den wir seit langem erhoffen." Ludwig Geiger, "Max Hochdorf. Die Leiden der Simoni," Allgemeine Zeitung des Judenthums 38 (1911): 456.
Lexikon deutsch-jüdischer Autoren, 12:120-121.
"Als ein Sucher, der unfachlich und frei, nur mit der Sonde seiner reichen Erfahrung, hinter allen Dingen das Herz des Menschen und den Sinn der Welt sucht." Quoted in Lexikon deutsch-jüdischer Autoren, 12:120.
Hannah Caplan and Belinda Rosenblatt, eds., International Biographical Dictionary of Central European Emigrés 1933-1945. Volume II / Part 1: A – K. The Arts, Sciences, and Literature (München/New York/London/Paris: K. G. Saur, 1983), 522. In 2022, Hochdorf's study was rediscovered and republished as Tacitus Revividus, Die große Trommel: Leben, Kampf und Traumlallen Adolf Hitlers (Darmstadt: wbg Theiss, 2022).
CODING DA VINCI, "Verbannte und Verbrannte. Die Liste der im Nationalsozialismus verbotenen Publikationen, Autoren und Verlage" (2014). Entry for Max Hochdorf (accessed 28 February 2025).
United States Holocaust Memorial Museum, Holocaust Survivors and Victims Database. Entry for Erna Hochdorf (accessed 28 February 2025).
Lexikon deutsch-jüdischer Autoren, 12:116-122.
"Was hier bei uns im Lande kaum möglich scheint, dass nämlich jemand Fachmann für Dramen und für Aussenpolitik zugleich ist, das war bei der Hochdorf-Generation die Voraussetzung eines Journalisten." Aufbau: an American weekly published in New York (27 February 1948), 5. Accessible via Deutsches Zeitungsportal.

Advertisement in publisher Axel Juncker's literary magazine "Orplid" (1912). Photo by Lea Weiß.

Axel Juncker: The publisher

Comte und die Göttin Clotilde was published by Axel Juncker (1870-1952), who led a publishing house in Berlin. Born in Copenhagen, Axel Juncker focused on Scandinavian authors as well as aesthetic and avant garde literature. He founded his publishing house 1902 in Stuttgart before moving to Berlin. In Berlin, he led the Scandinavian Bookshop that was highly valued by Rainer Maria Rilke, who was a frequent costumer and later published by Axel Juncker. Other writers Juncker published include Max Brod, Max Dautheney, Agnes Henningsen, Søren Kierkegaard, Toni Schwabe, René Schickele, Else Lasker-Schüler, Kurt Tucholsky, and Anton Wildgans.¹

Supplement to the papers of Axel Juncker, Staatsbibliothek zu Berlin (DE-611-BF-1455).

Advertisement in publisher Axel Juncker's literary magazine "Orplid" (1912). Photo by Lea Weiß.

The publishing house was based at Sybelstraße 11 in Berlin-Charlottenburg. In 1912, Juncker opened a bookshop on Kurfürstendamm, which was a meeting point for Berlin intellectuals.¹ Still, his relationship to Max Hochdorf remains uncertain, though both share biographical connections to Denmark, as both Axel Juncker and Erna Olsen, Hochdorf's wife, were born in Copenhagen. Hochdorf's first novel Das Herz des Little Pu was published by Axel Juncker in 1909. Other works followed in 1910, 1918, and 1919. Comte und die Göttin Clotilde in 1921 seems to mark the end of this author-publisher relationship.

Supplement to the papers of Axel Juncker.

The publisher's signet. Photo by Lea Weiß.

Axel Juncker published the small-format book series Orplidbücher from 1912 onwards in more than fifty titles.¹ Orplid refers to a paradisical fantasy country invented by the poet Eduard Mörike (1804-1975).² The first Orplidbuch was a new translation by Toni Schwabe of the novella Kormak und Stengerde by the Danish author J. P. Jacobsen, who was of great influence for Rainer Maria Rilke.³ Max Hochdorf's Comte und die Göttin Clotilde is the forty-fifth of the Orplidbücher. The series, which featured poetry, novellas, essays, fables and illustrations, was continued until Juncker moved back to Copenhagen in 1924.⁴

Thorsten Unger, ed., Weltliteratur – Feldliteratur: Buchreihen des Ersten Weltkriegs; eine Ausstellung (Hannover: Wehrhahn, 2015), 58.
Unger, Weltliteratur, 59.
Orplid 1, no. 2 (Berlin: Axel Juncker, 1912); Rainer Maria Rilke, Briefe an einen jungen Dichter (Berlin: Insel, 1929).
Supplement to the papers of Axel Juncker.

The Orplidbücher in the HU library. Photo by Lea Weiß.

The Orplidbücher series had an elegant yet modern aesthetic. Small in size and narrow in width, the format Juncker selected lent itself well to shorter literary forms such as poetry, the novella, and the essay—a form that at the beginning of the twentieth century was deemed fitting for the radical openness and uncertainty of modern times.¹ Comte und die Göttin Clotilde—an essay collection—counts 117 pages. The first four essays are book reviews. Hochdorf's aspiration as a culture critic becomes especially visible in the last text, which is a reflection on contemporary dance.

On the essay as form, see Birgit Nübel, Robert Musil – Essayismus als Selbstreflexion der Moderne (Berlin/New York: Walter de Gruyter, 2006).

Die heroischen Tänzer verlieren an Ruhm mit ihren Kürassen und klirrenden Schienen. Wo sie noch erscheinen, wirken sie gleich dem banalen, nicht erlebten Reim [....] Die menschlichen Tänzer sind in das Reich all der Entrechteten eingezogen; sie ahmen den Rhythmus der Arbeit nach und sie schämen sich dessen nicht.

The heroic dancers lose fame with their cuirasses and clanking greaves. Where they still appear, they resemble a banal, unexperienced rhyme [....] Human dancers have moved into the realm of all the disenfranchised; they imitate the rhythm of labor and are not ashamed of it.

Max Hochdorf, Comte und die Göttin Clotilde, 75. Translation by Lea Weiß.

The title page of the literary magazine "Orplid" (1912). Photo by Lea Weiß.

The Orplidbücher series: Handy books as gifts and collectibles

The series' third title, Kurt Tucholsky's Ein Bilderbuch für Verliebte, soon became a bestseller. Its illustrator Kurt Szafranski also designed the title page of Orplid, a literary magazine published by Axel Juncker in 1912 and 1913, in part with the aim to advertise the new Orplidbücher series. A 1912 advertisement proposes Orplidbücher as small gifts for congratulations and indicates that the series targeted a bibliophilic audience: "These small, pretty booklets of our Orplid-Bücher sit in colourful cardboard boxes, paperbacked and ready for delivery, and can be sent everywhere as printed matter."¹

"Diese kleinen Bändchen unserer Orplid–Bücher liegen mit kleinen, hübschen Glückwunschkärtchen fertig kartonniert und versandbereit in bunten Pappkartons, die Sie überallhin als Drucksache senden können." Orplid 1, no. 1 (Berlin: Axel Juncker, 1912), 47.

Advertisement: "The Book as Congratulations" in "Orplid" 1, no. 1 (1912), 47. Photo by Lea Weiß.

Front cover of "Comte und die Göttin Clotilde" (personal collection of Lea Weiß). Photo by Lea Weiß.

Compared to other Orplidbücher that carried colorful illustrations, Comte und die Göttin Clotilde is quite plain in its design: the codex is bound in tan pasteboard that might have been of even lighter color, as it has likely darkened with time. The cover bears only title, subtitle, author, and publisher details in a playful ornate font with art nouveau elements.

Title page with motto in "Comte und die Göttin Clotilde." Photo by Lea Weiß.

Paratext is the material in a published work that accompanies a book's main content and guides readers' perception of the text. Max Hochdorf placed a motto on the title page: "Liebt die Götter und denkt freundlich der Sterblichen! Hohe Tugend versteht, wer in die Welt geblickt" ("Love the gods and think kindly of the mortals! High virtue understands, who has looked into the world."). The two verses are taken from two different poems of Friedrich Hölderlin: "An die jungen Dichter" and "Sokrates und Alcibiades." Hochdorf seems to use these quotes to express an ethos of balance and favorability, as well as the importance of life experience for his literary and journalistic work.

Hochdorf's dedications. Photos by Lea Weiß.

Hochdorf dedicated all three of his books in the Orplidbücher series to someone. While the first book published in 1918 (Ju-Hei-Tschu, die Entensauce und der Mops) is dedicated to "the wonderful companion Aldegonde de Zutter," the dedications in the two books that followed in 1919 (Die letzte Tat des Jean Jaurès) and 1921 (Comte und die Göttin Clotilde) can be translated to "To our flower-secret!" and "And still the flower!" Even if today, these personal dedications remain mysterious, they read like an inside joke that the author may have shared with a close person, traveling from book to book.

HU library accession book, 1920s. Digitization by HU library.

Taking a look at the HU library's accession book shows that Comte und die Göttin Clotilde was purchased on November 3, 1921 as part of a bundle of books from the Axel Juncker publishing house along with several other volumes of the Orplidbücher. At that time, the library was still called Universitäts-Bibliothek Berlin and held the obligation to collect publications relevant for Berlin and Brandenburg as legal deposits.¹

I thank Susanne Graß of the HU library for this information.

Library date stamps in "Comte und die Göttin Clotilde." Photo by Lea Weiß.

The Orplidbücher once belonged to the so-called "general section"—a historical classification scheme that was used until around 1920 in the HU library. The repaired spine and the library stamps in the back of the book indicate its use in the years after its acquisition.

"Comte und die Göttin Clotilde" (left) next to volume one of "Wanderungen und Gedanken," "Die letzte Tat des Jean Jaurès." Photo by Lea Weiß.

What remains uncertain is the meaning of the red label on the book's front cover, which indicates storage of the book in "Reserveschrank 9" ("auxiliary cabinet no. 9"). Looking at the other Orplidbücher, seven books of this series, Max Hochdorf's work included, were banned during the Nazi reign of terror; four of them are marked with the same label. To this date, no literature exists about the history of this cabinet in the Humboldt University library collection. Evidence suggests it was used to store books separately, possibly for political reasons.¹

For this information I thank Dr. Yong-Mi Rauch at the Historical- and Special Collections of the Humboldt University library.

Conclusion

Looking at it over and over, Comte und die Göttin Clotilde becomes a familiar object: its distinct pocket-size format, the playful title font, its fragile spine. Like a small portal, it leads us to the trails that its author Max Hochdorf and his publisher Axel Juncker have left in the literary history of Berlin in the early twentieth century. It also reveals a glimpse of historical book culture, as books of the Orplidücher series were popular among gift-givers and collectors—with some of the books being banned in Nazi Germany decades later. Finally, this copy leads to questions about the history of the Humboldt University library that are still unanswered. Even though it can give us hints through stamps and labels, Comte und die Göttin Clotilde keeps a secret: exactly how it has traveled though library collections over time is not yet fully traceable.

03

Plakat Handbuch (1928)

Introduction

Wandering between the shelves of the library, we come across many different books, some of which may seem outdated, dusty, irrelevant to the modern reader, or perhaps even boring. Yet from time to time, a title or a cover sparks curiosity and at a second glance, opens up a new world.

At first, I also paid little attention to Plakat Handbuch. Albacharys Führer durch das Plakatwesen. Other books seemed more exciting and easier to understand, and the many numbers and statistics in the Handbuch seemed rather intimidating. However, the longer I engaged with this book and asked myself questions, the more fascinating it became.

Front (left) and back (right) covers of "Plakat Handbuch. Albacharys Führer durch das Plakatwesen" (1928). Photos by Emma Budahn.

Although this book's spine hardly stands out among a shelf full of different books, once you pull the book off the shelf its colorful cover and simple but striking design invite closer attention.

This particular copy of the Plakat Handbuch is located on the fourth floor of the Grimm Center alongside other books on economics. On the same shelf we find titles on the impact of advertising, effective shop window design, and printing methodology. Although their focus varies, these books have one thing in common: they are all more than thirty years old and illustrate the manual labor and effort that historically has gone into the production and manufacture of advertising.

Albachary's poster handbook complements this collection. This title offers readers not only insight into poster design and production, but also into international poster art and the diverse structures of the poster advertising industry in 1920s Germany. Besides this book, Albachary GmbH also published other works on advertising, including several handbooks on advertising panels (Handbuch für den Bogenschlag, 1935 and Handbuch für den Bogenanschlag, 1936).

Searching and Finding

While the 1928 publication Plakat Handbuch. Albacharys Führer durch das Plakatwesen is widely available in many libraries, other works by the company are much rarer. Occasionally, Albachary publications from the 1920s and 1930s can be found in libraries or antique bookstores. Moreover, the various known publications of the company do not initially seem to have a direct connection to each other. This contrasts with the former role of the Jacques Albachary company, which was deeply rooted in the Berlin advertising industry.¹

The more one engages with the Plakat Handbuch, the more contradictions emerge. Who was behind this book? What intentions did the publisher pursue? Did they aim to create an accessible textbook for everyone, or was it more about demonstrating the impact of posters? Apart from these questions, the handbook provides an interesting glimpse into the advertising industry of the 1930s in Berlin—a time of change, marked by numerous innovations such as new printing techniques and the introduction of the DIN format. At the same time, the rise of National Socialism brought profound changes that also influenced the advertising industry, as this book's history shows.

Christian Maryška, "Frey, Rolf," in Allgemeines Künstlerlexicon: Die Bildenden Künstler aller Zeiten und Völker (Band 44), ed. Günter Meißner et al. (München: Saur, 2005), 524.

10 Gebote für den Plakatanschlag: Die Reklame hat viele Wege; willst du die Schnelligkeit der Wirkung, die zündende Schlagkraft und die minimalen Kosten im Verhältnis zu Verbreitung, dann wähle das Plakat!

"10 Rules for Billposters: Advertising has many ways; if you seek rapid impact, striking effectiness and minimal costs in relation to reach—then choose the poster!"

E. O. Erdmenger, quoted in Plakat Handbuch, 140. Translation by Emma Budahn.

The "10 Commandments of Billposting." Photo by Emma Budahn.

The poster as an advertising medium plays a crucial role in the Plakat Handbuch. The book repeatedly emphasizes that the impact of posters is often underestimated. Today, posters are broadly established in the urban landscape and hang on every corner, yet they often go unnoticed, serving mostly as background noise.

Under the editorial direction of E. O. Erdmenger, who supervised the book's production, the Handbuch conveys the significance of posters in a humorous way, playfully introducing the reader to the world of poster art while skillfully using rhetorical devices and metaphors—such as the "10 Commandments of Billposting" or the remark that one cannot simply wait for a "Poster Messiah."¹

The work's confident and engaging tone makes it a pleasure to read and captivates readers from the very first pages.

Plakat Handbuch, 140-41.

Team behind the "Plakat Handbuch" (title page, verso). Photo by Emma Budahn.

Hallerstraße 1, former home of the Curt Hamelsche printing house, in 2015. Photo by Bodo Kubrak.

Publishing History

In 1928, Jacques Albachary GmbH published Plakat Handbuch. Albacharys Führer durch das Plakatwesen in Berlin. The book provides a comprehensive overview of German and international poster art of the time. In addition to legal guidelines and economic aspects, it examines the fundamental rules and processes of poster production.

Albachary GmbH, listed as the publisher on the first pages, was an advertising agency based at Potsdamer Straße 122 in Berlin.¹ It was registered in the Berlin commercial register in 1904 as Annoncen-Expedition Jacques Albachary, GmbH and was taken over by Willy Loewitt in 1934. Around 1937, the agency was dissolved. Additionally, there is another entry in the commercial register for Plakatanschlag-Vermittlung Jacques Albachary GmbH, which was located at Potsdamer Straße 35.²

Several companies were involved in the publication of the Plakat Handbuch. Editorial management was handled by E. O. Erdmenger (who was also responsible for the editorial direction of other Jacques Albachary GmbH books), with Herbert Zastrow as the chief editor.³ Erdmenger also released magazines and periodicals, such as Schwert und Spaten,which focused on the German arms industry, and Orden und Ehrenzeichen.

Two Berlin-based printing companies were responsible for printing the book: Curt Hamelsche Druckerei und Verlagsanstalt and Gebr. Hartkopf GmbH, the latter being responsible for printing the book cover.⁴ The building of the Curt Hamelsche printing house, located at Hallerstraße 1, still exists today but is now used as an office building.⁵

The statistics in the second part of the book were compiled by Willy Marotzke, while the stereotype printing plates (Klischees) were produced by Dr. Selle & Co. AG. The bookbinding was handled by D. Bleistein GmbH, which was headquartered at Friedrichstraße 16.⁶ Interestingly, all the companies involved in the publication were located in close proximity, highlighting the strong network of the advertising and printing industry within Berlin.

Plakat Handbuch, title page (recto).
“Annoncen-Expedition Jacques Albachary, GmbH,” Jewish Businesses in Berlin 1930-1945, accessed 23 February 2025.
Plakat Handbuch, title page (verso).
Plakat Handbuch, title page (verso).
"Curt Hamelsche Druckerei Berlin," Architekturbildarchive, accessed 10 January 2025.
Plakat Handbuch, title page (verso).

Front cover of "Plakat Handbuch" designed by Rolf Frey. Photo by Emma Budahn.

Rolf Frey: The cover artist

The cover of the work was designed by the Atelier Trias under the direction of Austrian graphic designer Rolf Frey. From 1920 to 1924, Frey managed the graphic studio Kosel-F (also called Cosl-F) together with Hermann Cosel. In its early years, the studio specialized in designing packaging for razor blades and cigarette papers.

Frey and Cosel were in close contact with Austrian graphic artist Julius Klinger, who invited them to collaborate on his book Poster Art in Vienna (1923). This book analyzed Austrian poster art but was adapted for the American market.

In 1925, Frey founded Atelier Trias together with Wilhelm Willrab and Klinger to design window display mannequins for the Betterway Grotesken. These figures of animals were used for window displays in stores and then exhibited at the advertising fairs in Berlin and Leipzig. Due to the success of these exhibitions, Frey moved to Berlin, where he continued to run Atelier Trias.

As Klinger's stylistic influence gradually faded, Frey developed his own distinct style, strongly influenced by Art Deco. During the Weimar Republic, Atelier Trias was well established in Berlin. Among its notable projects was the design of one of the first large-scale advertising billboards for Galeries Lafayette at Potsdamer Platz, featuring a woman promoting soap. Another significant project was the three-dimensional illuminated advertisement on the tower of the Amerikahaus for the radio manufacturer Telefunken.

After the Nazis took over, Frey returned to Vienna. His style remained heavily influenced by Art Deco. He favored red and black in his work, simplified forms, and directed the viewer's attention to essential elements.¹

Maryška, "Frey, Rolf," 524.

Who was behind the book

One might assume that Jacques Albachary played a significant role within the GmbH, but in reality, the true managing directors and shareholders behind this likely invented name were Adolph Silberstein and Willy Loewitt.

In 1934, Silberstein was forced out of the company's leadership due to his Jewish heritage, while Loewitt took over sole control of the firm. Adolph Silberstein was born on March 3, 1859 in Berlin. Together with his wife, Minna, he raised two children. His son, Bruno, fled to South Africa, while his daughter, Lisbeth, emigrated first to Israel and later to the United States as the Nazi regime spread across Germany. Silberstein and his wife intended to follow them, but they were ultimately unable to escape.

On August 10, 1942, they were deported to Theresienstadt. There, he reportedly died of old age or heart failure on August 21, 1942, while Minna fell victim to the inhumane conditions of the camp, passing away on December 8, 1942.¹

Ilse Schwäbi, "Adolph Silberstein," Stolpersteine in Berlin, accessed 23 February 2025.

Foreword to the "Plakat Handbuch." Photo by Emma Budahn.

Other Publications of Albachary GmbH

The introduction to the Plakat Handbuch describes the book as a catalog and compares it to previous publications: "Today we present our 1928 poster catalog and look back at the development of poster advertising since our last catalog of 1926/27."¹

As this statement indicates, the Albachary catalogs were published cyclically every two years. Between 1916 and 1933, Jacques Albachary GmbH released several books and catalogs on poster advertising. These included series such as Plakat Katalog (1916-2[6?]) and Albachary Plakathandbuch, a later iteration of the 1928 Handbuch (see for example Albachary Plakathandbuch. 5. Was wissen Sie vom Plakatanschlag und von der Außenreklame? [1930]).

In addition to these publications, the publisher also published manuals on advertising panels in the later 1930s, called Albacharys Handbuch für den Bogenanschlag.Another title, Albachary's Markt-Zahlen für Reklame-Verbraucher ("Market Figures for Advertising Consumers") was published at the same time as Albachachary's Führer durch das Plakatwesen for 1929. Dr. Walter Puttkammer described the Markt-Zahlen as factual and appealing: "[This] immensely sympathetic book, which advertises better for the publishing company despite the absence of any words of recommendation [...] brings general market material for the 24 major cities of the German Reich, which have more than 200,000 inhabitants.^"2 This review was published in 1929 in the Gebrauchsgraphik. International Advertising Art journal and illustrates the high status that Jaques Albachary GmbH held in the advertising world of the time.

"Wenn wir heute zu unserem Plakat-Katalog 1928 Stellung nehmen und Rückschau halten auf die Entwickelung der Plakatpropaganda seit unserem letztem Katalog 1926/26." Plakat Handbuch, 5.
"[Dieses] ungemein symphatische[s] Buch, das für die herausgebende Firma trotz Felhlen jedes empfehlenden Wortes besser wirbt [...] bringt generelles Marktmaterial für die 24 Großstädte des Deutschen Reiches, die mehr als 200 000 Einwohner zählen." Dr. Walter Puttkammer, "Besprechungen," Gebrauchsgraphik 6 (August 1929): 78.

Front and back covers of the "Plakat Handbuch." Photos by Emma Budahn.

When you pick up the Handbuch, you immediately notice the simple but striking design of the cover designed by Rolf Frey. In the center is a red Litfaßsäule, or advertising pillar, holding two golden apples. Its bold red color makes it stand out against the brown background and is echoed by the book's red page edges. On the back of the book is an owl in the same red coloring, underneath which is written: UHU-Das Neue Ullstein Magazin.

Frey's deliberate choice of color and the simplicity of the design immediately attract attention, while his depiction of the Litfaßsäule refers directly to the content of the book without overloading the reader with additional information. With this design, Frey shows his flair for conveying simple and direct messages in advertising.

The book itself is of a handy and practical size (23 cm) and weighs around 700 g, making it well suited for transportation and regular carrying. It has not been rebound, but the original cloth binding has been retained.¹

Despite its age, it has remained in good condition, with no noticeable signs of wear such as dog eared-pages. The paper is smooth and of a pleasant thickness. All these features suggest that this particular book has not been used intensively, but has been carefully stored.

Compare to copies currently for sale.

Contents of the "Plakat Handbuch." Photo by Emma Budahn.

Content

Now to the "catalog" itself. The book's text is divided into editorial and statistical sections. The editorial section offers a comprehensive overview of German and international poster art. It provides detailed information on various printing techniques, including letterpress and gravure printing. In addition, it explains legal guidelines for poster production and discusses the calculation of poster sizes.¹

The second part of the work focuses on statistics that deal in particular with the number of advertising panels and columns per inhabitant in German cities. These panels originally were established by authorities to reduce the spreading of posters all around German cities and control the number of posters.²

The book is also divided into small chapters throughout. Written in approachable language, these are kept short and informative. Some chapters include text written by well-known individuals, such as Professor H. K. Frenzel, reflecting Albachary's position in and opinions about the advertisement world.

Plakat Handbuch, 3-5.
Johannes Kamps, "Geschichte der Printmedien und ihrer Erforschung XIII: das Plakat I: Herstellung, Vertrieb und Forschungsgeschichte. Herstellung und Verteilung des Plakats in seiner Entwickelung," in Handbücher zur Sprach- und Kommunikationswissenschaft 15, no. 1 (1999): 977.

Advertising-relevant statistics in the "Plakat Handbuch." Photo by Emma Budahn.

Example of an advertising poster reproduced in the "Plakat Handbuch." Photo by Emma Budahn.

Posters

Shifting focus from the book's text to its images reveals that is not just Erdmenger's concise and ironic explanations that shape the reading experiences, but also the deliberate use of placards and illustrations that bring the book to life.

In the first part of the book, there is a particularly large number of posters—both German and international. The German advertisement posters are presented without additional explanations as part of a visual showcase, while the international posters are accompanied by texts on the history of posters in advertising and well-known artists in the industry, highlighting difficulties and discussing differences within each country in neutral language.

Many of these images are not only attention-grabbing but serve to promote various German businesses, subtly providing additional information to readers about ads and their production. Although these posters vary in design and subject matter, they offer valuable insights into the work of different companies and their approach to advertisement during the 1920s.

International posters in the "Plakat Handbuch." Photo by Emma Budahn.

Looking at these posters, we easily can spot differences from the previous German posters. Here, we find a collection of designs and drafts created for the London & North Eastern Railway. These posters advertise different train routes, highlighting beautiful destinations in order to encourage travel by train. They appear mesmerizing and picturesque, reminiscent of vintage postcards. Even the typography used is thin, elegant, and in some cases ornately designed.

Advertising poster for the firm Meissner & Buch in the "Plakat Handbuch." Photo by Emma Budahn.

The German posters, on the other hand, tend to be simpler in their appearance. Most of them lack intricate motifs, relying instead on caricatures and smaller illustrations. Some posters rely purely on bold fonts to grab attention and convey essential information in an instant.

This is also a point that Professor Frenzel, the publisher of the "Gebrauchsgraphik," conveys in "Was schätzt das Ausland an der deutschen Werbegraphik" ("What other countries prize about German advertising graphics"), which is reproduced in the Plakat Handbuch. He states that every country has its own artistic understanding, arguing that Germans favor design oriented toward intellectual matters, which he claims are better remembered by audiences, rather than opulent aesthetics.¹

In some sense Frenzel's comments capture the very design of the Plakat Handbuch itself: the book's simple format and layout seeks to reinforce the text's most important information.

Plakat Handbuch, 40.

Anders ist es mit dem Plakat[;] es spricht zu dem >Mann auf der Straße<, der nicht aufnahmewillig und an anderen Dingen interessiert ist. Es muß deshalb kurz, zwingend und schlagend sein.

"It is different with the poster; it speaks to the 'man on the street' who is not willing to receive and is invested in different things. Therefore it has to be short, compelling, and punchy."

H. K. Frenzel, quoted in Plakat Handbuch, 38-40. Translation by Emma Budahn.

Wir haben ebenfalls auch bei dem neuen Katalog uns von dem Bestreben leiten lassen, nicht nur durch unsere Arbeit neue Freunde der Plakatpropaganda zuzuführen, sondern sie auch in jeder Weise objektiv zu beraten, aufzuklären und ihnen sachliche Unterlagen für ihre Propaganda an die Hand zugeben. Dies kurz zum Katalog selbst.

"We also have been lead by the aspiration for the new catalog, not only to attrach new friends through our work, but also to provide them with objective advice, information, and factual documentation for their propaganda. That’s just about the catalog itself."

Plakat Handbuch, 3. Translation by Emma Budahn.

"Plakatkünstlerverzeichnis" in the "Plakat Handbuch." Photo by Emma Budahn.

This handbook is more than just a plain textbook; it facilitates easier access to artists working within the design industry by including a "Plakatkünstlerverzeichnis" ("placard artist register") that fosters interactions between designers and potential clients. Through lists and tables, Albachary GmbH presents such information in a structured and accessible manner.

Explanation of advertising-related population statistics in the "Plakat Handbuch." Photo by Emma Budahn.

A defining characteristic of the book is its second part, as Albachary GmbH primarily focused on advertising statistics and regularly published magazines featuring new figures and updates concerning the advertisement industry.

In this regard, the Plakat Handbuch differs from other publications by the Albachary GmbH. For example the Albachary Handbuch für den Bogenanschlag consists solely of statistics and tables for each German state and its cities. It includes data on industrial and manual labor sectors, advertising costs and available advertising spaces.¹It should be noted that the term Bogenanschlag was introduced by the Werberat der Deutschen Wirtschaft ("Advertising Council of the German Economy") during the Nazi era and remains in use today.²Unlike the Plakat Handbuch, this publication conveys information with minimal text, offering only a short preface and brief descriptions.

This approach highlights the publisher's dedication to creating informative and accessible materials. The Albachary handbooks were designed not only to support newcomers in the field, but also to keep industrial professionals informed. The book portrays complex topics with ease, serving both as an objective reference guide and consulting tool. By regularly updating its catalogs with new data and trends, the publisher ensured that advertisers could stay up to date with the evolving industry.

Albachary Handbuch für den Bogenanschlag (Berlin: Jacques Albachary, 1935), 49.
Kamps, "Geschichte der Printmedien und ihrer Erforschung," 978.

Library stamps in the "Plakat Handbuch." Photos by Emma Budahn.

Before it came to HU, this book was part of the Bibliothek der Industrie- und Handelskammer zu Berlin and therefore belonged to the Industrie- and Handelskammer zu Berlin ("Berlin Chamber of Commerce and Industry"). The book was used by students at that institution before arriving at Humboldt, where it was first listed as a permanent loan to HU in August 11, 1988.¹The longstanding use of this book as a reference work demonstrates the historic impact of Albachary's works on the market and their major role within the advertisement world.

On the title page, as well as in the preface (p. 3), we find five stamps from the IHK Bibliothek. Some of these stamps also appear inside the book; all of the older, round stamps feature the Deutscher Reichsadler.

HU librarian Armin Schwer, email to the author (4 March 2025).

Penciled marks in the "Plakat Handbuch." Photo by Emma Budahn.

These are not the only traces of previous users. There are subtle pencil marks and annotations left by librarians, especially on the first pages. Notably, someone has added "(Jacques)" to the title on the first page of the book, which seems ironic since "Jacques Albachary" remains an unknown, possibly fictional figure whose name was likely a pseudonym.

Conclusion

Plakat Handbuch (1928) continually raises new questions and will likely continue to do so in the future. Nevertheless, it shows how the passage of time has influenced the advertising industry and how interconnected the advertising world in 1920s Berlin was—a world in which Albachary GmbH played an important role.

Although it belonged to reference libraries, this book is not just a textbook; it brings the art of poster advertising closer to the reader and highlights its significance. Thus, it remains relevant, as it focuses on key elements of design that are still significant today.

04

Of Human Bondage (1938)

Introduction

At the Jacob and Wilhelm Grimm Center I walked past countless students who arrived early to secure one of the highly sought-after study tables, holding onto them for the entire day before repeating the ritual the next morning. The books on their desks were primarily legal textbooks, essential for their studies.

Yet as I wandered through a well-lit corridor on the fifth floor, which ended at a glass window overlooking terraced platforms where students sat in focused concentration, I wondered what secrets might reveal themselves if I took a closer look at one of the many books on the shelves.

Traditionally, "taking a closer look at a book" implies reading its printed text. This approach raises questions such as: What did the author intend to convey? How is the text structured, and did it reach its intended audience? How should it be interpreted? However, as this exhibit shows, a closer examination of a book can extend beyond its textual content to its physical form. The binding, cover design, and page layout all hold significance, as do library stamps, which can offer insight into a book's ownership history and the places through which it has circulated.

The book that captured my attention is a 1938 edition of W. Somerset Maugham's Of Human Bondage, first published in 1915 (London: Heinemann).

I have a long-standing personal interest in Maugham and had previously read the novel and appreciated it from a literary perspective. The narrative follows protagonist Philip Carey from childhood to early adulthood. After losing his parents at a young age, he is raised by his uncle in the English countryside and later sent to a boys' school, where he experiences bullying due to his club foot. His journey takes him to Heidelberg, where he briefly finds guidance, and then to Paris, where he abandons his pursuit of painting upon realizing he would never be more than second-rate. Returning to London, he enrolls in medical school, but his life is marked by impulsive decisions, financial hardship, and ill-fated romantic entanglements—the things that make us human. Unlike the traditional Bildungsroman, in which the protagonist follows a logical path toward self-improvement, Philip often acts against his own best interests—he is at times too sensitive, too forgiving, or too proud. His internal conflict between convention and individualism is a central theme.

Philip's life closely parallels that of Maugham himself. The author was born in 1874 in Paris, lost both of his parents as a child and suffered from a stutter, which made him shy and led to social exclusion. This personal struggle is externalized in Philip's club foot, a visible physical disability that forces him to limp through life. Maugham went to Heidelberg for studies of German, Literature, and Philosophy but eventually finished medical school in 1897. During his studies he worked in a hospital in Lambeth, treating the city’s poorest residents—an experience that honed his ability to observe and diagnose human behavior, a skill he applied to his writing, and which resulted in his first novel, Liza of Lambeth (1897). He became extremely successful and well known. He traveled extensively, collected art, worked as a spy for the British government during both World Wars and led a double life, concealing his homosexuality from the public eye.¹

Selina Hastings, The Secret Lives of Somerset Maugham (New York: Random House, 2010), 3.

HU copy of "Of Human Bondage" (1938). Photo by Tristan Brennwald.

The copy I will examine is a 1938 reprint published by Heinemann in London, part of The Collected Edition of the Works of William Somerset Maugham. The book spans 941 pages and its cover is a faded red, with an embossed symbol in the bottom right corner and a library stamp on the front. The spine bears the title, the author's name, and the publisher's imprint.

Click here to view a 3D scan of this book.

The most intriguing feature of this edition is the faded embossed symbol, which I would describe as an upside-down double-barred cross intersected by an arch adorned with evenly spaced perpendicular lines. This detail will be a focus of my analysis in the section Design.

Through this study, I aim to explore the relationship between the author, the text, and its material manifestation—this specific copy housed in the Grimm Center.

HU copy of "Of Human Bondage" (Heinemann, 1977). Photo by Tristan Brennwald.

Of Human Bondage was first published by the Heinemann publishing house in London in August 1915.¹ The novel's enduring popularity is reflected in its numerous reprints and editions. A second impression followed in September 1915, with more affordable editions released by Heinemann in subsequent years (1919, 1927, 1929, 1931, and 1933). In 1934, the text was reset, marking a shift in its publication history, and the Collected Edition of Maugham's works commenced publication in May 1937.

The specific copy I examined was printed in October 1938 in England as part of this collected edition, which comprised sixteen volumes, including novels, short story collections, and plays. It is likely that the book originally came with a dust jacket, as other Heinemann collected works editions did, such as the 1977 collected works edition shown here.

For more information on Heinemann, see John St. John, William Heinemann: A Century of Publishing, 1890-1990 (London: Heinemann, 1990).

This edition spans 941 pages. It is bound in cloth instead of a more expensive material such as leather, indicating its accessibility to a general readership rather than an exclusive, affluent audience. The book's dimensions are modest—15 x 22 cm—making it well-suited for inclusion in inexpensive personal libraries.

While some editions divide the novel's text into two volumes, this particular copy retains the full text in a single volume, reinforcing its intended use as part of a complete collected works series.¹

The pages are composed of durable, medium-thickness paper that has acquired a yellowed patina over time yet remains highly legible. The Garamond-family typeface ensures readability, while the wide margins further enhance the reading experience by providing ample space for annotations.

This copy contrasts editions including a 1951 Heinemann edition in two volumes and a 1975 German translation published by Diogenes, also published in two volumes.

An interesting irregularity can be observed along the book's top edge. During the printing process, large sheets of paper, each containing multiple pages of text, are printed, folded, and trimmed on the top, bottom, and right edges to create individual leaves. In this particular copy, two leaves remained partially connected at a small section and when opening the pages were torn apart unevenly, offering a subtle but revealing glimpse into the mechanics of book production.

Faded symbol on the research copy (left) and the same symbol on a personal copy (right). Photos by Tristan Brennwald.

The book's spine features the author's name, the title, and the publisher, Heinemann, presented in a clean and readable style. A noteworthy feature of the front cover is the faded talismanic symbol associated with Maugham, a sign that he stated hails from Morocco and was found by his father and placed on glassware in a house in Suresnes, France to protect against the evil eye: "[My father] ordered a great quantity of glass on which he had engraved a sign against the Evil Eye which he had found in Morocco and which the reader may see on the cover of this book".¹ Researching the origins of this symbol, however, invariably lead back to Maugham and his account of its origin story as stated in The Summing Up (1938).²

W. Somerset Maugham, The Summing Up (London: Heinemann, 1938), 18-19.
During travels to Morocco, I even asked many people if they knew this symbol and received no positive replies, although the symbol could very well be a simplification of the hand of Fatima.

W. Somerset Maugham at Villa Mauresque's entrance, engraved with the symbol that appears on his books. Cap Ferrat, 1954.

Maugham used the symbol for the first time on the cover of The Hero (London: Hutchinson & Co., 1901), and in the first state, it was mistakenly printed upside down. After this was corrected in the second state, he continued using the symbol on his books, notes, and even on the gate of his villa in Cap Ferrat as a talisman to ward off the evil eye.¹

Samuel Rogal, A William Somerset Maugham Encyclopedia (Westport, CT: Greenwood Press, 1997), 87.

Maugham symbol tattoo on the author. Photo by Tristan Brennwald.

The symbol's afterlives

Curiously, a strikingly similar symbol appears in the 1970 film M*A*S*H*, where it is seen on the door of a military tent.¹ This visual connection gains further significance when considering a photograph from the Korean War featuring Richard Hornberger, author of the novel on which the film is based, standing in front of his own tent with the identical emblem displayed. Given Maugham's literary influence and widespread popularity, it is plausible that Hooker was familiar with the symbol from one of Maugham's works and adopted it as a personal protective emblem.

Under the circumstances, there is the possibility that Maugham created this symbol himself as a form of personal branding. It is also possible that the symbol has been lost to history in its original context, that Maugham's father did not tell him the truth about it, or that Maugham remembered it differently. Either way, it is ultimately a testament to the power of strong belief.

Some fans of Maugham have begun using the symbol for their own projects. When I give friends a copy of Maugham's work with the symbol on it, stories of lucky situations have often been the reply. I even had the symbol tattooed, and while it would be silly to attribute good events to a symbol, it carries deep meaning for me that goes beyond my interest in W. Somerset Maugham.

M*A*S*H*, directed by Robert Altman (Los Angeles: 20th Century Fox, 1970).

"Instead of a Preface." Photo by Tristan Brennwald.

A popular text

The reprinting history of Of Human Bondage underscores Maugham's sustained literary appeal throughout the early twentieth century. Though often understated about his own success, Maugham himself acknowledged in the "Instead of a Preface" section of this edition that the novel initially achieved only modest recognition in Britain before gaining significant traction in the United States—a shift he attributed in part to reviews by prominent writers such as Theodore Dreiser.¹

The novel's thematic exploration of identity, purpose, and human frailty has contributed to its broad and enduring readership. Its inclusion in the Collected Edition suggests an audience of dedicated Maugham enthusiasts and collectors who valued both the prestige and uniformity of owning his complete works. The book's material form—durable yet affordable—reflects this dual purpose. It was designed to be accessible to general readers while still suitable for inclusion in a personal library. The volume's medium size suggests it was intended primarily for reading, allowing for deep engagement with the protagonist's journey without the physical strain of overly delicate or unwieldy formats.

Maugham, Of Human Bondage, viii.

Reader inscription in HU copy. Photo by Tristan Brennwald.

A personal gift

However, a book's intended function does not always align with its actual use. The first known role this copy played was as a personal gift, a significant transformation from a mass-produced literary artifact into a meaningful, individualized object. This copy contains a handwritten dedication on the front endpaper:

To Mum on the occasion of her ? birthday with many happy returns from Mollie. xxxxx

This inscription offers a glimpse into the book's history beyond its commercial and literary significance, revealing its role in interpersonal relationships and memory-making. The uncertainty surrounding the mother's age in the dedication could indicate a humorous gesture, perhaps acknowledging the timelessness of her youth. Given the novel's narrative, which follows a young protagonist’s struggles with loss, independence, and self-discovery, it is possible that Mollie, by gifting this book, saw thematic parallels between its story and her mother's life or her own reflections on the past.

It cannot be said if the recipient, "Mum," engaged with the text. However, underlined passages marked in pencil reflect at least one past reader's visible engagement with the text and participation in an active and contemplative reading process. The distribution of these markings, which decrease in frequency toward the end of the novel, may indicate a shift in reading conditions—perhaps a change of setting or a more rapid consumption of the later sections. These annotations provide an additional layer of context, positioning this copy not just as a literary work but as an artifact shaped by personal engagements.

Library stamps in "Of Human Bondage." Photo by Tristan Brennwald.

From private to public

At some point, the book left the possession of its original owner and entered a new institutional context in West Germany, where it was cataloged in the Bonn-Hangelar library's Sprachmittler-Abteilung ("Linguistics Section") as seen by a stamp in the front matter. This transition marked a fundamental shift in this book's function: from a deeply personal object to a pedagogical tool. In this setting, the novel was no longer primarily read for its narrative or thematic content but rather as a means for language acquisition. Here, Of Human Bondage was encountered not only as a work of Maugham's literary legacy but as a foreign text to be translated and studied.

The library stamp has since been revised, indicating that the book is no longer part of the Bonn-Hangelar collection. The book now resides in the Humboldt University library in Berlin, where its HU shelfmark—"Ling. 4077:F8"— likewise indicates intended use as a language-learning tool. These institutional markings provide an alternative form of provenance, tracing the book's movement from private to public ownership. Over the decades, it has been held, read, and perhaps even studied by various individuals, though much of its journey remains unknowable.

Conclusion

The unknown aspects of this book's history invite speculation: What became of Mollie and her mother? Did any reader in Bonn develop an appreciation for Maugham's prose and the English language? Where is the book's dust jacket now—lost, discarded, or preserved elsewhere? How many hands have held this particular copy, and what impact, if any, did it leave on their lives?

This specific volume, the focal point of my research, is more than just another copy of a canonical text. It serves as a historical artifact that embodies layers of human interaction, institutional history, and evolving functions. No two books are identical in their material and experiential histories. Small modifications—dedications, annotations, stamps—render each copy unique, containing hidden narratives that can only be uncovered through careful examination. The traces left by past readers serve as quiet reminders that literature is not merely a static entity but a living, evolving medium that continues to shape and be shaped by its audience.

05

Taʾrīḫ al-ḫaṭţ al-ʿarabī wa-ādābuhu (1939)

Introduction

Titled Taʾrīḫ al-ḫaṭṭ al-ʿarabī wa-ādābuhu ("The History of Arabic Calligraphy and its Arts"), this book by Muḥammad Ṭāhir b. ʿAbdalqādir al-Kurdī is a rich, multifaceted exploration of Arabic calligraphy. First published in Cairo in 1939 (1358 AH), it combines historical, literary, and social perspectives with meticulously presented visual elements, including calligraphic samples and early photographic illustrations. I came across this work in the Asian-/African Studies and Islamic Theology Branch Library of the Humboldt University Library, shelved among historical studies of Arabic script. Amid this section, its slightly worn softcover binding, right-to-left pagination, and the elegant classical Arabic on its title page stood out.

My choice of this book was driven by a long-standing interest in Arabic calligraphy not only as a form of aesthetic expression but also as a cultural artifact deeply woven into Islamic history, spirituality, and identity. I was curious to learn more about how this art form evolved, what tools and techniques were used, who the master calligraphers were, and how the transmission of this tradition took place across different geographies and centuries. In this book, I hoped to find more than just historical facts—I was looking for stories, textures, and traces of artistic devotion. What I didn't expect, however, was to discover a book that felt like a museum in print, rich with images and layered with cultural significance, all compiled by one man over three years of solitary, painstaking research.

The author, al-Kurdī (1903-80), was a Mecca-born calligrapher, scholar, and poet of Kurdish heritage. He carried the prestigious title Kātib al-Muṣḥaf al-Makkī, or the "Scribe of the Meccan Qur'an," and his mastery of the calligraphic arts is evident not just in his theoretical understanding, but in his deep reverence for the tradition.¹ The book spans 470 pages and is filled with biographies of calligraphers, analyses of writing tools and materials, and images of ancient inscriptions—some of them barely decipherable, others beautifully preserved. It's as much a scholarly work as it is a visual archive.

One of the first surprises I encountered was the scope of the author's research. Al-Kurdī gathered material from museums and libraries in Cairo and Alexandria during his years in Egypt, consulting both Arab and Turkish sources. His engagement with Ottoman-era calligraphy—through Turkish teachers and sources—adds a rare comparative layer, bridging regions and styles. Another unexpected dimension was the inclusion of portraits, including one of King Abdulaziz ibn Saud and another of the author himself at the historic al-Falah School in Jeddah. These paratextual elements provide personal and political context, situating the work within early Saudi statehood and the wider cultural movements in the Arab world of the 1930s.

The book also surprised me in material terms. It is modestly bound, with soft covers and even a few pages that remain uncut—a rare find in a library setting, hinting that the book may have seen limited use or circulation. Inside, I found an old Alexandria National Museum ticket used as a bookmark and a library receipt from Humboldt University—traces of readers who left few marks, but whose engagement still lingers. Library stamps from the book's previous home at the Deutsches Orient-Institut Hamburg, meanwhile, indicate that this book has crossed institutional, geographical, and perhaps ideological boundaries.

Finding this book in the Humboldt library seemed entirely fitting, though its age and rarity also gave it the aura of something more precious, even slightly out of place among more recent academic texts. It stands apart from its neighbors not just because of its publication date or Arabic-only text, but because of its hybrid nature—scholarly yet visual, archival yet alive with the author's voice. The right-to-left orientation, the hand-drawn elements, and the absence of a bibliography and citations in the European academic style all contribute to its uniqueness in a German university library.

Ultimately, this book is more than a history of Arabic calligraphy. It offers a reflection on cultural continuity, the persistence of beauty, and the ways in which writing can be both a personal devotion and a collective memory. In the sections that follow, I'll explore some of the book's key themes: the evolution of Arabic script, the tools and materials of the scribe, the role of calligraphy in Islamic society, and the stories of the individuals who carried this art across centuries and continents. I will also trace the material journey of this particular copy—from Cairo to Hamburg to Berlin—alongside the intellectual and spiritual journey that the book invites its readers to take.

Şahin Şimşek, "Muhammed Tahir El-Kurdî el-Mekkî el-Hattat: Hayatı ve Eserleri," JOSR 8, no. 2 (2016): 861.

Discovering "Taʾrīḫ al-ḫaṭṭ" (left) in the HU library. Photos by Polina Shablovskaia.

A Hidden Treasure in the Stacks

Shelved alongside historical studies of Arabic script at the Humboldt University Library, this 1939 first edition stands out for its unique material features: modest dimensions, softcover binding, and its right-to-left layout typical of Arabic texts. As both a scholarly and artistic work authored by a trained calligrapher, it serves as a critical resource for students and researchers exploring the evolution of Arabic writing, its cultural significance, and the print practices of early twentieth-century Cairo.

This book is a first edition, and according to WorldCat, only eight editions exist across 52 libraries worldwide. Its rarity is matched by its uniqueness. Unlike many modern books on Arabic calligraphy that emphasize either technique or aesthetic beauty, Taʾrīḫ al-ḫaṭṭ reads like an encyclopedic chronicle. It traces the emergence of the Arabic script from its Nabataean roots, through the early Islamic period, and into the classical and Ottoman eras. It explains how diacritics were introduced, details the functions of different tools like the qalam (reed pen) and ink pot, and introduces the various script styles—naskh, thuluth, and others—with corresponding visual samples. It even explores eccentric forms, like calligraphy written on grains of rice or eggshells.

The book also devotes significant space to biographies—short portraits of famous calligraphers, patrons, and even political leaders who engaged in the craft. Here, history becomes personalized. We are introduced to sultans and viziers who took up the pen, as well as contemporary calligraphers known to the author, bridging the sacred, the artistic, and the political. The Qur'an, as expected, plays a central role. The final chapters focus on Qur'anic calligraphy, discussing both the art of writing the sacred text and the traditions of its reproduction. These sections are imbued with a sense of devotion and responsibility, reflecting the belief that writing the Qur'an is not just an artistic endeavor but a spiritual one.

Printed in the Heart of Cairo's Literary Renaissance

This book bears two publishing marks: the copyright notice of Maktabat al-Hilal and the name of the firm al-Maṭbaʻa at-tiǧārīya al-ḥadīta—"The Modern Commercial Printing Press"—located in Cairo's Sakakini district. The first mark anchors the book within the thriving intellectual networks of the Arab Nahda, while the second reflects the era’s shift toward industrialized publishing.

As historian Ami Ayalon notes, by the late nineteenth century, maktaba had evolved from a term referring to libraries or collections of manuscripts into a hub of cultural production—bookshop, publishing house, and commercial printer all in one.¹ Founded by Jurji Zaydan, Maktabat al-Hilal played a central role in shaping modern Arabic literary culture. His bookshop, opened in 1896 in Cairo's Faggala district, operated as a lending library, distribution center, and publishing enterprise, linking readers across the Arab world.

Zaydan's mission was to promote literary culture by making books and journals accessible to both elites and the emerging middle classes. His lending system—allowing postal book exchanges—further illustrates the democratizing ethos of al-Hilal. Though the exact print history of Taʾrīḫ al-ḫaṭṭ al-ʿarabī wa-ādābuhu is not fully documented, its association with al-Hilal places it firmly within a transformative moment in Arabic print history: one defined by expanding literacy, modern publishing infrastructure, and the consolidation of a pan-Arab intellectual identity.

Ami Ayalon, "Arab Booksellers and Bookshops in the Age of Printing, 1850–1914," British Journal of Middle Eastern Studies 37 (2010): 83.

Page details, "Taʾrīḫ al-ḫaṭṭ." Photos by Polina Shablovskaia.

The design and structure of Taʾrīḫ al-ḫaṭṭ al-ʿarabī wa-ādābuhu are deeply informed by the characteristics of the Arabic script, which is written and read from right to left. As a result, the book opens with the spine on the right and the fore-edge on the left, contrasting with the layout of Latin-based books. One notable exception to this directional rule is the orientation of numerals, which are read left to right even within Arabic texts.

Arabic script consists of 28 letters, written in a cursive style where characters are joined together and shift shape depending on their position within a word—initial, medial, final, or isolated. Despite the number of letters, there are only 11 base shapes, and differentiation relies heavily on the placement of diacritical points (dots) above or below the characters. These points are essential in distinguishing between similarly shaped letters.

Diacritical vowel markings, which appear as short strokes or symbols above or below letters, also feature prominently in this work, especially in formal sections such as the preface or headings. While native readers often omit these vocalizations in everyday writing, they are traditionally preserved in Qur'anic texts to ensure accurate recitation. Their presence here reflects both didactic intent and reverence for the script’s heritage.

Unlike Latin-based scripts, Arabic writing does not employ capital letters, standardized punctuation, or typical paragraph formatting. Consequently, the text uses visual cues such as rubrication—the practice of marking important phrases or structural transitions in a distinct or enlarged script—and overlining, where horizontal lines drawn above words draw emphasis or denote significance. These traditional navigational aids play a critical role in maintaining textual clarity and guiding the reader through the content.¹

Overall, the typographic and visual design of this book balances clarity and tradition, suggesting it was crafted for both lay and scholarly audiences. It not only aids comprehension but also situates the reader within the long-standing cultural and historical continuum of Arabic calligraphic and literary practice.

For more information, see Kelly Tuttle, "Islamic Manuscript Basics," The Schoenberg Institute for Manuscript Studies, University of Pennsylvania, accessed 22 April 2025.

Calligraphy examples in "Taʾrīḫ al-ḫaṭṭ." Photos by Polina Shablovskaia.

Portraits of King Abdulaziz Ibn Saud (left) and the book's author, al-Kurdī (right), in "Taʾrīḫ al-ḫaṭṭ." Photos by Polina Shablovskaia.

A didactic tool and a cultural statement

Taʾrīḫ al-ḫaṭṭ al-ʿarabī wa-ādābuhu is intended for Arabic-literate audiences, with particular relevance for readers in Egypt and Saudi Arabia. This is reflected in its language, Cairo-based publication by Maktaba al-Hilal—which retains all rights to printing, translation, and design—and the author's stated aim to address both "elites and common people."¹

At the beginning of the book, two images signal its cultural and ideological affiliations: a portrait of King Abdulaziz Ibn Saud (reigned 1932-53), founder of modern Saudi Arabia, and a photograph of the author at the entrance of al-Falah Madrasa in Jeddah.

Founded in 1905 by Sheikh Mohammed Ali Zainal Alireza, al-Falah was the first boys' school in Jeddah and a cornerstone of modern education in the Hijaz during the late Ottoman period. Supported by local business elites and later by King Abdulaziz himself, the school educated several influential Saudi figures, including Mohammed Abdu Yamani and Ahmed Zaki Yamani. As of today, plans are currently underway to convert the historic building into a museum and cultural center.²

As Fawz Al-Jamil notes, the early decades of the Saudi state (1932-45) were marked by a noticeable scarcity of pictorial or expressive artistic production, particularly works addressing political or existential themes.³ In contrast, Arabic calligraphy thrived during this period, strongly shaped by the Ottoman legacy of Qur'anic transcription. Educational institutions in Mecca, Jeddah, and Al-Ahsa began integrating calligraphy into their curricula in the early twentieth century, focusing on replication of classical models and the use of traditional instruments such as the inkwell and reed pen.

The book's printing in Egypt connects it to a parallel cultural movement: the flourishing liberal intellectual scene of early twentieth-century Egypt. Between 1923 and 1952, the country experienced a vibrant and transformative cultural scene fueled by a relatively open civil society. Public forums such as literary cafés, salons, theaters, and publishing houses became key sites for pluralistic expression and cultural exchange.⁴

Together, these contexts suggest that the book is not only a didactic tool but also a product of—and contributor to—broader efforts to preserve and revitalize Arabic calligraphy within both traditional and modernizing frameworks.

Preface, Taʾrīḫ al-ḫaṭṭ al-ʿarabī wa-ādābuhu.
TimeOut Jeddah, "The Oldest School in Jeddah Is Being Turned into a Museum," 2 January 2025.
Fawz Al-Jamil, "The Story of the Beginnings: The Role of Saudi Institutions in the Growth of Art Education," MANA, 2 December 2024.
Israel Gershoni, "Liberal Democratic Legacies in Modern Egypt: The Role of the Intellectuals, 1900–1950," Institute for Advanced Study, 2012.

Provenance marks in "Taʾrīḫ al-ḫaṭṭ." Photos by Polina Shablovskaia.

Provenance

The book was added to Humboldt University Library's inventory on April 3, 2012, following its acquisition from the Deutsches Orient-Institut Hamburg, originally part of the Nah- und Mittelost Verein (NUMOV)—a German association founded in 1934 to foster economic and cultural ties with the Near and Middle East. The transfer was formalized through a 2010 donation agreement. The book bears several institutional stamps, including a red one from the Nah- und Mittelost Verein, a dark blue stamp from the Deutsches Orient-Institut (appearing multiple times), and a black stamp from NUMOV. These markings suggest that the book was acquired during the early period of the association's formation and remained in its possession through various institutional changes and restructurings, until it was eventually transferred to the Humboldt University Library. This trajectory reflects broader patterns of German engagement with Middle Eastern textual heritage, shaped by NUMOV's transformation from a private-sector initiative into a hub for intercultural, scientific, and policy exchange through institutions like the German Orient-Institute.¹

For more information, see "5 Years of NUMOV Nah- und Mittelost Verein e.V. German Near and Middle East Association" (Brandenburg: Brandenburgische Universitätsdruckerei und Verlagsgesellschaft Potsdam mbH, 2009).

Conclusion

This book—at once an artistic object and a scholarly work—demonstrates how material culture can serve as a portal into complex historical, cultural, and intellectual networks. Taʾrīḫ al-ḫaṭṭ al-ʿarabī wa-ādābuhu invites us to explore questions of authorship, readership, and the transmission of knowledge across time and space. Its pages do not just preserve the past; they actively prompt us to reconstruct it.

06

Hitler Sobre America Latina (1968)

Front cover of "Hitler Sobre America Latina." Photo by Sofía Comelatto.

Introduction

Hitler Sobre America Latina: El Fascismo Alemán en Latinoamérica 1933-1943 ("Hitler on Latin America: German Fascism in Latin America 1933-1943") was published in Mexico City (at the time of publication, Mexico D.F. [Distrito Federal]) in 1968. This book stems from the seminar of Friedrich Katz, a prominent historian from Humboldt University, who provided a fundamental academic foundation for exploring the influence of German ideologies in Latin America.

This book is not an isolated work but the result of an academic effort at HU. The seminar led by Friedrich Katz, which began in 1966, brought together scholars specializing in German imperial expansion, highlighting HU's role as a center for research on Germany's historical influence beyond Europe. The book itself is presented as the first stage of a broader research process, emphasizing HU's contribution to fostering critical studies on German fascist policies in Latin America. Its publication in 1968, during the Cold War and a time of political unrest in Latin America and elsewhere, also reflects the university's engagement with global historical debates at a time of ideological tensions.

Table of contents, "Hitler Sobre America Latina." Photo by Sofía Comelatto.

The authors whose essays appear in the book are: Helmuth Stoecker, Friedrich Katz, Jürgen Hell, Klaus Kannapin, and Ursula Schlenther. All of them were historians and researchers who collaborated on exploring the Nazi influence in Latin America.

The book's chapters include: Presentation (Stoecker); Some Essential Features of German Imperialist Policy in Latin America from 1890 to 1941 (Katz); The South-Brazilian New Germany: The Essential Annexationist Feature of the Wilhelmine and Nazi Policy Towards Brazil (1895-1939) (Hell); On the Nazi Policy in Argentina from 1933 to 1943 (Kannapin); and The Racist Ideology of the Nazis in the Ethnographic Literature on Latin America (Schlenther).

Shelf view in the HU library. Photo by Sofía Comelatto.

I discovered this book while browsing the Latin American section of the HU library, and I found it intriguing to come across a Spanish-language text that explores German politics in relation to my own continent. Being from Argentina, I was particularly drawn to this topic, as it allowed me to explore the historical connections between Germany and Latin America from a perspective that directly relates to my own background.

Why did this book intrigue me?

After conducting a search in WorldCat, I saw that the book appears in three physical editions and one eBook version. However, looking at the WorldCat record, it seems that these are all the same edition but have been cataloged differently by various libraries, causing them to appear as separate entries. Although this discrepancy initially created some confusion about whether multiple editions existed in 1968, only one edition of the book was in fact published.

Available evidence shows that the book is held in 32 libraries worldwide. Of these, only four are located in Latin America. The majority of the copies are found in the United States (21 copies). There are also two copies in Germany, two in the United Kingdom, and one each in Canada, Mexico, Argentina, and Chile. This distribution suggests a significant presence in North America and Europe but a relatively limited availability in Latin America itself, despite the book's language and focus on the region.

Lastly, I was interested in the significance of the book's publication during a period marked by numerous dictatorships across Latin America, many of which endured for years or even decades.

Key initial questions

What connections do these authors have with Latin America? How long did they study and research the influence of German ideologies on the continent, especially in cases where the chapters focus on a specific country? In what language were these studies originally written? Why was Mexico chosen as the place of publication? How did this book end up in the HU library? What are the ties between the authors and HU? How widely was the book read, and where was it most popular? Were these texts published in other languages, such as German or Portuguese?

What does the content of the book truly reveal about Hitler's perspective on Latin America? How was the title selected, and does it accurately reflect the main themes of the book? How might the Cold War context have influenced the book's publication and reception?

Publication Details

Hitler Sobre America Latina was published in 1968 by Editorial Fondo de Cultura Popular (FCP) in Mexico City.

I have found no evidence that FCP still exists today. The absence of information about this publishing house raises questions regarding its history, its affiliations, and its possible connections to other publishers of the time.

Initially, online searches for Fondo de Cultura Popular also showed no direct results. Instead, the search results referenced Fondo de Cultura Económica (FCE), a well-known and still-active Mexican publishing house. This raised an important question: Could FCP and FCE be somehow connected, either by affiliation, ideological alignment, or editorial collaboration?

Collected reports on "Communist propaganda organizations and activities in Latin America during 1966." Digitization by University of Texas Austin.

In an effort to verify the existence of FCP as an active publisher in the 1960s, I discovered two references in US government documents from the Cold War era.

The first appears in a 1967 report by the United States Information Agency, which classified FCP as "Pro-Soviet." This document, which examines communist influence in Latin America, contains several tables cataloging organizations, bookstores, and publishers associated with leftist and communist movements.

Table 8 is particularly significant, as it lists "Communist publishing houses and bookstores in Latin America - 1966." Within this table, FCP is identified and labeled as "Pro-Soviet." What makes this document even more intriguing is that FCE also appears on the same list, but with a different classification. According to the report, FCE is described as: a "publishing house of liberal, anti-imperialist, and nationalist viewpoint, which is identified throughout Latin America with the best in Mexican publishing. It publishes all types of literature, including Communist and Marxist works."¹

United States Information Agency, "Communist propaganda organizations and activities in Latin America during 1966" (Washington, D.C.: 1967), 42.

Excerpt from hearing that mentions FCP. Digitization by Stanford University.

The second reference to FCP appears in the transcript of a 1959 US Senate hearing. In this record, FCP is described as "the publishing house and bookstore of the Communist Party in Mexico."¹ Unlike the first document, which provided a more general ideological classification, this reference explicitly links FCP to the Partido Comunista Mexicano (PCM). Notably, in this document, FCE is not mentioned at all. This omission reinforces the idea that while FCE may have published Marxist or leftist works, it may have not been perceived as a direct arm of the Communist Party, whereas FCP was.

Committee on the Judiciary, US Senate, "Communist Threat to the United States through the Caribbean" (Washington, DC: US Government Printing Office, 1959), 169.

Given the direct association between FCP and the Communist Party, I looked for more concrete evidence of its publishing activities. While I found a publisher listed under the name "Fondo de Cultura Popular," with a primary focus on political and economic subjects closely related to communism and leftist ideologies, its catalogue of books published in 1968 does not include Hitler Sobre America Latina, raising further questions about whether multiple publishers used the same name or if some of FCP's publications were not fully catalogued.

Book structure

This book contains a first part that serves as a presentation and four other parts, each with its own author and topic of discussion. Each section has its own title and focus, emphasizing that the book is a compilation of independent research pieces brought together under the broader theme of Nazi influence in Latin America.

Physical characteristics

The cover of the book has an intense pink background with a deep black image of Nazi flags, and the title appears in large white block letters—a design choice that seems intended to draw attention.

The book itself is relatively thin and light, and at approximately 12 x 23 cm, is a convenient size for active reading.

Handwritten price, "$20"—evidence of sale before reaching Europe. Photo by Sofía Comelatto.

The book bears no handwritten markings, except for a notation on the first page indicating a price of "$20." This suggests that the book was sold at some point before arriving in Europe and was purchased used by HU.

Library stamp in "Hitler Sobre America Latina." Photo by Sofía Comelatto.

Additionally, the book has acquired stamps on the top and bottom of the spine reading "Sektion Geschichte" ("History Section"), as well as an internal stamp from Humboldt University in Berlin.

Material evidence in the book suggests it has been actively used by past readers. Its internal pages appear in excellent condition, with minimal signs of wear or heavy use. However, the first two pages are slightly folded, possibly indicating some handling or minor damage. Externally, the book exhibits slight wear, particularly on the upper left corner, where the cover appears somewhat frayed.

Intended audiences and placement in the library

Given its academic structure and detailed historical analysis, Hitler Sobre America Latina was likely intended for an audience of university students and scholars rather than a general readership. The book's presence in academic libraries, particularly in institutions like Humboldt University, further reinforces this idea.

When examining its placement within the HU library, I noticed that it was shelved among books related to Latin America and communism. Despite this thematic grouping, I did not find any other books written in Spanish within this section, making this volume stand out as a unique addition to the collection.

Conclusion

Unanswered questions remain regarding this book. What were the exact motivations behind its publication in 1968? How did it circulate, and who were its primary readers? Additionally, the role of Fondo de Cultura Popular remains uncertain. Was it a short-lived or underground publishing house? How did it come to be associated with this book?

This book also opens several avenues for further research. Investigating the broader circulation of Hitler Sobre America Latina—who read it, how it was received, and whether it influenced scholarly discussions—could provide valuable insights into its historical impact. Additionally, exploring the background of Fondo de Cultura Popular and its role in leftist publishing could shed light on why this book was published in Mexico and how it fits into Cold War-era intellectual networks. Finally, comparing this book with other works on Nazi influence in Latin America could help contextualize its contributions and limitations within the field of historical research.

07

Alice's Adventures Under Ground (1985)

HU copy of "Alice's Adventures." Photo by Emmeli Jessat..

Introduction

Alice's Adventures Under Ground is a facsimile of the original manuscript Alice's Adventures Under Ground written by Lewis Carroll around 1864/65. I found this book in the Center for British Studies at Humboldt University's Foreign Languages/Literatures Branch Library, shelved between other editions and versions of the story and books dealing with Carroll or his writing. While my interest in the history of children's books that are still popular and known today led me to focus on Alice in Wonderland, the work into which Carroll later developed Alice's Adventures, I discovered this edition by chance. What first caught my eye was the spine, which is dark green fabric with gold lettering. After pulling it from the shelf the cover kept my attention: it was quite different from most of the Alice in Wonderland editions I had encountered, bearing a floral hand-written and illustrated cover and a back cover featuring a dedication in the same script.

A string of questions

The various identification numbers written inside the book and on its spine (HL 2393 A39.985) cannot be found in the Humboldt University online catalogue. While leafing though the book's pages, I stumbled upon a library receipt from 2017 listing Alice's adventures: Lewis Carroll in popular culture and The Brontës as the lent books. Upon checking the book out myself, I learned that against my expectations, the latter is the online listing connected to this book; checking my account online gave me this online catalogue entry. In other words, this book has been incorrectly catalogued since at least 2017.

Beyond this mystery, the questions I chose to focus my research on include the path of this text, from its origins as a gift for a young girl to its publication as a renamed, illustrated, and popular work, as well as the purpose of this particular edition in the context of the story's popularity.

How it came to be

The book's introduction tells the story of how the first-ever facsimile came to be and how the original manuscript was sold by Alice Liddell (at that point of her life known by her husband's name, Hargreaves). Without this part of the original manuscript's history, this edition and all the ones following would not exist.

The original idea behind Alice's Adventures arose on a summer day—July 4, 1862—when Carroll, his friend Robinson Duckworth, and the three Liddell girls were out on a boat ride, during which Carroll told his companions the story. Afterwards, at the request of Alice Liddell, Carroll wrote out the story as a gift without the least idea that it would ever be published.

Friends who heard about the story, however, encouraged Carroll to have it published, which he did in 1865, expanding the story from 12,715 words to 26,211, making quite a few changes to the story, and arranging for John Tenniel to illustrate it. The story's name underwent some changes as well, as can be seen by how the title of the facsimile Alice's Adventure Under Ground differs from the well-known title Alice's Adventures in Wonderland or the even more well-known Alice in Wonderland. This came to be because Carroll feared that the original title might appear to be a book containing "instruction about mines" and therefore went on to search for a better suited title, suggesting Alice among the elves/goblins or Alice's hour/doings/adventures in elf-land/wonderland.¹

Russell Ash, "Introduction," Alice's Adventures Under Ground (London: Pavilion Books Limited/British Library, 1985), 11-19.

The first facsimile

In 1885 Carroll wrote the now grown-up and married Alice Liddell a letter asking if he could borrow his original manuscript in order to prepare a facsimile and she, in agreement, sent him the manuscript. This first facsimile was published in an edition of only 5,000 books.

In 1928, Alice Liddell decided to sell the original manuscript due to money problems. In 1948, after changing owners a few times in America, the manuscript was gifted to the Manuscript Department of the British Museum (now British Library), where it has remained on display ever since and is an important factor in the creation of this particular book. A digital facsimile of the original manuscript made by the British Library can be viewed here.

Publication details in "Alice's Adventures." Photo by Emmeli Jessat.

As stated on the publication details page, this edition was first published in association with the British Library, which owns the original manuscript, by Pavilion Books Limited in London in 1985 in association with Michael Joseph Limited (an imprint of Penguin Books). It was bound and printed in Italy by printer and binder Arnoldo Mondadori.

The information here notes that the photographs featured in the book were printed with the permission of Christ Church College Library, which at first glance seemed to me a random connection, until I did a little research and learned that H. G. Liddell, the father of Alice Liddell, was the former dean of Christ Church College.¹ Charles Lutwidge Dodgson, who wrote under the pen name Lewis Carroll, was a mathematics lecturer at the college when he first met Alice.

Today, this exact edition can only be found second-hand and even then rarely. While the facsimile is still being published and sold by the British Library, the new edition's cover shows no trace of the original manuscript, like this edition does. However, the cover image on the HU edition of Alice's Adventures Under Ground can still be found in the British Library's shop as a print available for purchase.

For more on H. G. Liddell, see Henry Lewis Thompson, Henry George Liddell (New York: Henry Holt, 1899).

Title page of "Alice's Adventures." Photo by Emmeli Jessat.

Unusually, the author's name can not be found on the outside of the book at all. The first mention of Carroll appears on the title page. This omission emphasizes that the story and the name Lewis Carroll were well known by the time this facsimile was published. I will say more about this book's intended use in the Readers & Uses section of my research.

Front and back covers of "Alice's Adventures." Photo by Emmeli Jessat.

Cover

The book is bound as a hardcover book measuring 21 cm x 14 cm, or slightly smaller than an A5 format. The front cover shows the hand-drawn cover design of the original manuscript, with the only modern addition being a photograph of Alice Liddell, which in the original manuscript was found on the very last page.

The back cover shows the ornamented dedication Carroll added to the manuscript when he gifted it to Alice as a Christmas gift, here partially hidden by an old sale sticker.

Spine

The spine is bound in dark green cloth with gold lettering featuring the book's title but no author. On the lower spine is the HU library sticker with its identification number.

Pages

The book's pages are made of thick cream-colored paper, which makes the facsimile look almost like it was really handwritten on these pages. The introduction and other parts of the book that use printed text all feature a simple border and multiple black and white photographs of people related to the story and its author.

Price

Using the ISBN, I located another copy of my book for sale online. The listed price of 10.61€ makes it cheaper than original sticker price of £9.95 (with inflation, at least £13.38 or 15.98€ in 2025).¹ Whether this is because the other book is a second-hand copy or because interest in this particular edition has waned, this price drop shows that the book seemingly does not fall into the category of a rare collector's item.

Rates calculated using CPI Inflation Calculator, accessed 20 March 2025.

The book is divided into four parts:

1. a foreword by Mary Jean St Clair
2. an introduction by Russell Ash
3. a "Selective 'Alice' Bibliography"
4. and lastly the facsimile

The foreword

The foreword, written by Mary Jean St Clair, the granddaughter of Alice Liddell, features a photograph of Alice age 80 on a visit to New York. It gives context to Alice's life and the part Carroll's story played in it.

The introduction

Following these pages is an introduction to the manuscript and its origin story and context written by Russell Ash. Featured here are more photographs (see next slide)—one of Alice Liddell and her sisters Edith and Lorina taken by Dodgson aka Carroll; one of Carroll himself; Carroll's friend Robinson Duckworth, who accompanied them on the boat tour that would spark the story of Alice's fantastical adventures; and finally the last photograph Carroll took of Alice when she was 17. In addition to these images, this part of the book features a copy of the inscription Carroll left in the copy of the first published facsimile of the manuscript, which he gifted to Alice.¹

Ash, "Foreword," Alice's Adventures, 9.

Photographs of Alice Liddell and her world featured in "Alice's Adventures."

Manuscript dedication reproduced in "Alice's Adventures."

A "Selective 'Alice' Bibliography"

The last part of the book before the facsimile itself begins features a short selective bibliography—like the preceding texts, another way to give more context. Featured here are the works The Letters of Lewis Carroll by Morton N. Cohen, The Annotated Alice by Martin Gardner, Beyond the Looking Glass by Colin Gordon, The Diaries of Lewis Carroll by Roger Lancelyn Green, and Aspects of Alice by Robert Phillips.

Alice's Adventure Under Ground: The Facsimile

The facsimile differs from the former parts not only by being a reproduction of handwritten pages instead of typed text, but also by not having framed page margins or numbered pages. Only the dedication page of the story (the same one that is also used as the back cover of this book) features the frames that can be found in the previous pages, suggesting a design choice made to tie the book together and connect the first three parts to the facsimile; this page still differs from the typed pages by being red instead of black on white.

The neat handwriting that is reproduced in the facsimile is a product of Carroll "laboriously [writing] in a hand that the young Alice would find legible."¹ The layout of the original written pages has been kept, with some pages written vertically across the page instead of the normal horizontal form. The thirty-seven illustrations featured in the facsimile, drawn by Carroll himself, "convey precisely his personal view of how the inhabitants of 'Wonderland' ought to look, and thus have an intimacy not found in the work of subsequent illustrators of his books," as Russell Ash writes in the introduction.² They too vary between page filling in portrait- or landscape-format, as well as smaller illustrations inserted in the text, all accompanying and catering to the story.

Ash, "Introduction," Alice's Adventures, 13.
Ash, "Introduction," Alice's Adventures, 13.

Facsimile pages. Photos by Emmeli Jessat.

Reproduced sketch and photograph of Alice Liddell in "Alice's Adventures." Photos by Emmeli Jessat.

The picture of Alice from the cover is once again featured on the very last page of the book, on a slightly transparent page that overlays the story's last page and when lifted reveals a hand-drawn version of the very same photograph. It had been a recent discovery when this book was published, that underneath the photograph of young Alice lay Carroll's drawn version.

This edition is the first to reproduce these two images separated out from each other, making this edition of the facsimile special. The picture originally was pasted onto the last page of original manuscript. In the first facsimile, both Carroll and Alice Liddell had reservations about reproducing such a personal item and so Carroll did not allow it to appear in the 1886 facsimile. The sketch of the portrait is his only known drawing of Alice (since his illustrations of the Alice in the story, being influenced by the Pre-Raphaelites, differ in appearance from the real Alice). The special choice in paper for this final page may be seen as a homage to these special images and taken as representation of their until-then merged nature.

Having looked at the design choices and structure of the book allows for some speculation regarding the intended use of this edition.

A glimpse of the real thing

The book's various design features suggest that its intended audience is people who already know and love the story and want a glimpse behind the scenes—a piece of the original.

After all, the text reproduced here is a different, earlier version than the story that is known today. Being published in association with the British Library also indicates that the book was likely published for a more bibliophilic audience than that of a typical children's book.

The feel of the paper

In comparison to the paper used for the introduction text, the thick paper used for the facsimile itself stands out. One could interpret this choice as privileging sturdiness—and therefore rendering the book viable for being handled by a child. However, children's book versions of the story were already popular and circulating widely before this particular book was published. Instead, the choice of paper here suggests an attempt to create a specific experience for the readers: to feel, perhaps, that one holds the original manuscript bound for Alice Liddell as a present.

A personal gift

The front and back cover design add to this impression. The book cover shows the hand-drawn original cover design of the manuscript, with the addition of Alice's photograph, and the back cover shows the ornamented dedication written by Carroll. Neither front nor back page features the author's name, adding to the sense that this is a personal gift with a known giver. The facsimile doesn't mention Carroll's name either, due to it being the original (Alice Liddell was unlikely to forget who wrote this story for her).

The author's comment

The first facsimile of Carroll's original manuscript was made in 1885/86 after Carroll asked Alice Liddell's permission and she sent him the manuscript. A quote from that letter indicates that this early facsimile was meant for people fond of the story. Carroll wrote: "I think, considering the extraordinary popularity the books have had [...] there must be many who would like to see the original form."¹ Given the story's popularity it is again no surprise that the facsimile was published without the author's name on display.

The intimacy of the illustrations

Carroll's hand-drawn illustrations reinforce my speculations for the reasoning behind the publishing of this book. This unique personal, as Ash writes, almost intimate approach to the story, by way of seeing the characters of Wonderland the way Carroll envisioned them, can give readers a different kind of emotional access to the story no other version of the book could.²

Carried close to the heart

The compact size and binding of the book make it both small and sturdy enough to be carried around, but also fancy enough to be displayed on a shelf or a collection. This suggests that the book may function as somewhat of a fan object to be either collected or carried close to the heart.

Carroll, quoted in Alice's Adventures, 16.
Ash, "Introduction," Alice's Adventures, 13.

I think, considering the extraordinary popularity the books have had [...] there must be many who would like to see the original form.

Lewis Carroll, quoted in the foreword to "Alice's Adventures," 16.

Library checkout slip. Photo by Emmeli Jessat.

Although there are not any written reader traces left in the book itself, the library receipt left pressed between the cover and title page indexes the presence of former users in Berlin. This left-behind piece of paper tells us at least a little about the life the book has lived in the HU library. The receipt's date indicates that this book has been in HU's possession and shelved in the foreign languages branch library since at least February 13, 2017. The library stamp within the book likewise locates it in HU's Center for British Studies, suggesting the book has not been moved since it was first acquired by the university.

The 2017 library receipt also provides a clue regarding at least one previous reader: we know which books this person checked out together. In this case there was only one other book: Alice's Adventures: Lewis Carroll in popular culture. This pairing of the facsimile with a scholarly text further suggests that the book's target audience is mostly fans of the "Alice in Wonderland" story or those interested in a deeper dive into the story behind the work.

Conclusion

While this specific copy of Alice's Adventures Under Ground does not tell us too much about its former users and shelf life, it does help in learning about the general audience and purpose of this edition. It is interesting to see how material details, content, and the history of the text itself together suggest the book's different possible functions—and how something as little as a library receipt can contribute to hypotheses concering this book's use and audience.

Exhibit Conclusion

As the stories of these seven books show, there is more to a book than what appears at first glance.

Books housed in a university library's open stacks are not just secondary sources. They are also primary sources in their own right.

The individual books featured above demonstrate how a single copy of a book can raise questions that connect the history of books and reading to diverse academic research fields. Tracing the biographies of these books also showcases the many different methods that book historians use to pursue their work, from investigating how a book's material design reflects its intended audience to examining how a book's provenance indexes relationships between people and institutions.

At the same time, questions remain. Who were the historic librarians responsible for purchasing and otherwise acquiring these particular books? How exactly has the categorization and storage of these books in the Humboldt library changed over time? And how do these copies compare to copies housed at other libraries? Many of the books in this exhibit also raise questions about the role that library books have played in Humboldt University's complex social and political history. Why did the library purchase a Humboldt professor's book as a cheap second-hand copy? And how did a book by an author critical of the Nazi party survive World War Two in such good condition?

In profiling these seven library books, this exhibit has sought both to share stories and to invite continuing conversation. What other hidden histories might be found in the Humboldt library or in another seemingly ordinary library collection? We encourage you to explore the shelves and to begin your own investigation.

Eine virtuelle Ausstellung von

Berlin University Alliance

Humboldt-Universität zu Berlin

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Senatsverwaltung für Wissenschaft, Gesundheit, und Pflege

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Diese Ausstellung wurde am 20.05.2025 veröffentlicht.

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Shelf Secrets

Tracing Histories of Humboldt University Library Books

Exhibit Introduction

Seminar photo

Photograph, 2024

Aus der Sammlung von

Wie darf ich das Objekt nutzen?

Quelle

Exterior of the Humboldt Grimm-Zentrum

camera_obscura, Photograph, 2011, Berlin

Aus der Sammlung von

Wie darf ich das Objekt nutzen?

Quelle

Kurzbeschreibung

A Brief History of the Humboldt University Library

Library stamps

Madeline Zehnder, Photo collage, 2025

Aus der Sammlung von

Wie darf ich das Objekt nutzen?

Quelle

Kurzbeschreibung

Humboldt University buildings

Otto Hagemann, Photograph, 1938, Berlin

Aus der Sammlung von

Wie darf ich das Objekt nutzen?

Quelle

Kurzbeschreibung

Humboldt Library bound paper catalogue

Lea Weiß, Photograph, 2025

Aus der Sammlung von

Wie darf ich das Objekt nutzen?

Quelle

Kurzbeschreibung

Bookshelves in the Humboldt Grimm-Zentrum library.

camera_obscura, Photograph, 2011, Berlin

Aus der Sammlung von

Wie darf ich das Objekt nutzen?

Quelle

The Books

01

Histoire du siècle 1789-1889 (1889)

Bookshelf and "Histoire du siècle" in the HU Grimm-Zentrum

Lili Csóti, Photograph, 2025, Berlin

Aus der Sammlung von

Wie darf ich das Objekt nutzen?

Quelle

Kurzbeschreibung

A memory from 1889 in the HU library

Cover and spine of "Histoire du siècle"

Lili Csóti, Photograph, 2025, Berlin

Aus der Sammlung von

Wie darf ich das Objekt nutzen?

Quelle

Kurzbeschreibung

Bookplate of Princess Antoine Radziwill

Lili Csóti, Photograph, 2025, Berlin

Aus der Sammlung von

Wie darf ich das Objekt nutzen?

Quelle

Kurzbeschreibung

Title page of "Histoire du siècle"

Lili Csóti, Photograph, 2025, Berlin

Aus der Sammlung von

Wie darf ich das Objekt nutzen?

Quelle

Kurzbeschreibung

Interior page view of "Histoire du siècle"

Lili Csóti, Photograph, 2025, Berlin

Aus der Sammlung von

Wie darf ich das Objekt nutzen?

Quelle

Panorama fragment and photographic reproduction

Henri Gervex and Alfred Stevens, 1889

Aus der Sammlung von

Wie darf ich das Objekt nutzen?

Quelle

Wax cylinder recording 1889

William J. Hammer, Sound recording, 1889, Paris

Aus der Sammlung von