Antioch Bookplate Company I

Antioch Bookplate Company

By

Edith Anderson Rights

Suddenly my attention has been focused on the Antioch Publishing Company (formerly the Antioch Bookplate Company) a concern with which most Americans who love books are familiar. [All facts about the history of Antioch Bookplate Company and any quotations used in this article were taken from the company’s publications: catalogs, brochures, and online web sites.] The spark for this attention was the announcement [New York Sun, June 14, 2007] that Antioch College (founded by Horace Mann) of Yellow Springs, Ohio, plans to close its doors on July 1, 2008, because it can no longer function in a fiscally valid manner. A few days later concern was expressed about the future of the periodical Antioch Review, a publication earlier spun off from its parent institution; unlike the Antioch Publishing Company which had never been officially a part of the college.

The Antioch Bookplate Company (the earlier name) is, so far as I can determine, the only business that has provided bookplate services for nearly a century, had absorbed an unknown number of their smaller competitors and is still the principal producer of universal bookplates in the United States. Small bookplate divisions still exist in companies, a few companies have survived more than a few years, and new companies still appear, but Antioch Bookplate Company is the largest and best known in the United States.

As early as 1946, I (then a college student) chose the Antioch bookplate G9 for use in my personal library. Later, in two decades (1984-2004) of inspecting institutional bookplate collections I saw and photocopied for my own use those advertising brochures and bookplate catalogues as appeared in these collections in order to identify properly some of the bookplates that had entered my collection. Any inspection of a bookplate collection created in the early 20th Century may well disclose a small brochure produced by a graphic artist who offers a group of designs from which an individual could choose a bookplate; any number of these entrepreneurs solicited business in this manner, although most collections have only one or two of these brochures. Most of those bookplate brochures by individual artists had no publication date although in some cases a date can be surmised from the age of the collections in which they appear. So far the only other significant 20th Century catalog, that I have seen, came from the firm Berliner & McGinnis.

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With permission from the college, the students named their venture The Antioch Bookplate Company. Eventually Kahoe sold his interest to Morgan; while Morgan continued his education during daylight hours and printed bookplates and bookmarks by night. Relatives and friends pitched in to help him with his fledgling business. To sell his product to dealers, Ernest Morgan hitchhiked his way around the region. “As Morgan neared the end of his academic education, he was offered an attractive employment opportunity with McGraw-Hill and he had to decide between a promising future with an established publishing firm or continuing the struggle to make his own business grow. After much thought, he chose to risk following his own course because his dreams included much more that simply earning a living. His goal was to create a ‘community of work,’ based on the Quaker values with which he was raised. These values included honesty, mutual respect, tolerance, recognition of the dignity of people and their ideas, and corporate and individual responsibility. Far ahead of his time, Ernest looked upon the workplace as a community of equals, sharing in the process of meaningful work and its rewards. By 1929, profit-sharing was a practice of the company, an institution that pioneered in democratic, inter-racial and profit-sharing policies.

The first flyer from Antioch, presumably in the1930s, consisted of ten design images, coded in the catalog as M. The two most often seen are the first featuring owls and the second having a stylized gazelle, both universally popular images for bookplates. A later undated single sheet flyer depicted twelve new images including that show two additional very popular themes, the first with a familiar verse by an unidentified author and the other with a frigate under full sail. Variations of the frigate image have been used without the compass rose and with the addition of lines from Emily Dickinson’s poem: “There is no frigate like a book to take us lands away.”

With the publication of the 1944 catalog (35 pages), the company’s inventory of designs had grown exponentially. They had also acquired the design stock of Stenzel & Company of New York City and the black and white designs of the Rustcraft Company of Boston. Rustcraft had in the 1920s and 30s also carried a series of at least eight four- color designs enhanced with gold accents that Antioch apparently did not acquire. The bookplate image of M6 had appeared also in an earlier Joseph G. Bolger flyer, although Antioch, using the same pictorial, restyled the lettering. The design used as R66 is representative of the twelve bookplate designs identified in the Antioch catalog as “the more popular items of the series formerly published by the Rustcraft Company, of Boston.”

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The catalog of 1959 also illustrated four of eight designs (printed in brown) created in the 1950s by a new artist Benton Ferguson; in 2001 the series was labeled ‘The Young Moderns’ and had been expanded ten designs, each with stick-figure people whose faces are obscured by their open books. Another artist, Mark Kelley contributed three designs for a series of eight color bookplates for children, William Pringle provided four designs, and Carl S. Junge was credited with a single design for bookplates that were otherwise plain labels. Dorothy Burrage Chandor’s cat on a stack of books, John Hucthhausen’s leprechaun, and Cullen Rapp’s ornamented label, all introduced in the 1950s, were designated ‘old favorites’ by 2002.

Among the new offerings in the 1966 catalog of 29 pages were Raymond Da Boll’s calligraphic design created for himself [see Bookplates in the News, #15, January 1974] that was printed originally by Antioch and later adapted as a stock plate with minor changes; and even later republished using only Da Boll’s calligraphic lettering; a reproduction of Katsushika Hokusai’s Wave now designated an ‘old favorite’ and (also without identifying the artist) a contemporary design.

By 1968 sales had reached $350,000 annually. That year Lee Morgan, Ernest’s youngest son, joined the company, and during the next two decades the product line expanded into new book-related items such as bookmarks and journals.

In the 1980s the company was renamed Antioch Publishing Company and eventually established operations in Canada, the United Kingdom and Mexico and has continued to expand. From a two-person operation utilizing a borrowed press in 1926, Antioch Publishing grew to have 600 employee-owners by the 1990s. For seven decades the company has continued the community-oriented spirit and human-centered values of its founder through its recycling programs, its charitable foundation, and its employee profit-sharing plans.”

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The catalog of the 1990s covered Antioch Publishing Company’s expanded product line, relegating its bookplate coverage to pages 41 through 47, with thirteen new bookplate offerings among the many older designs like the ancient map of the world and the bouquet of massed flowers.

The online listing of 2001 and 2002 contained illustrations of two designs which had obviously been part of Antioch’s stock for years and that were newly labeled as ‘old favorites’ without any reference to their earlier catalog numbers: the sepia design of an owl in a leafy background, and a colored design of a central medallion with two birds and three flowers within a scrolled branch.

Since 1926 Antioch Bookplate Company has published numerous versions of their philosophy and general policies that are interesting and informative. While universals, by their very nature, are not tailored expressly to an individual owner’s taste, in 1959, Antioch stated that: “bookplate art … alone among the arts seeks to show, in graphic form, some clue to the personality and spirit of its owner, some suggestion of his motivating values or interest, or something of his feelings about literature and life [and that] hidden beneath the sedate workaday exterior of each of us there is another self, a freer, truer self which most of us are afraid to show the world, lest our dignity suffer. There is a hunger for romance, poetry and adventure. Thus a personal bookplate should be both a device for identifying the books with their owner, and in a deeper sense a medium for identifying the owner with his books … to get a design that somehow ‘fits,’ not just in subject matter, but in feeling as well.”

And for those individuals who were not satisfied with a ‘universal’ design Antioch suggested: “If you have a design of your own, or can obtain such a design from an artist, our charge for making a cut is $3.00 … We strongly advise that wherever possible special designs be done by artists who can collaborate personally with their clients.” One such ‘commissioned’ bookplate [that I have seen] was prepared for and used by S. Barksdale Penick’s library in his home in Montclair, New Jersey. A print of this bookplate is in the Montclair Art Museum’s collection and reproduces the over-mantel metal sculpture of garden tools that hung over this library’s fireplace. Mr. Penick was later the president of the Montclair Art Museum’s board of trustees.

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The (undated) enclosure in an Antioch bookplate box promised that “If, for any reason, you are disappointed with the bookplates you order we shall consider it a favor to have them returned regardless of whose fault it may have been, for few things are more annoying than a displeasing or defective bookplate.” Whether this policy is still in effect is not known.

Antioch designs represent the selected work of many artists through its eighty-plus years, and have covered a wide range of subjects and styles. While the designs illustrated here are representative, other recognized bookplate artists (in addition to those already cited) provided designs including Valenti Angelo, Franklin Bittner, Bank B. Gordon, Dan Burne Jones, and Thijs Mauve.

Antioch bookplates do have a ‘universal’ appeal, although many designs became dated because of changes in modern opinions about styling. Many of their designs have been used for decades – are still popular, as their recent designation as ‘old favorites’ states. Certainly Dorothy Chandor’s cat deserves this accolade as does the bookplate featuring Sir Galahad in addition to the Spitzweg adaptation.

Architecture in Ex Libris I

Architecture in Ex Libris

By

Cliff Parfit

Architecture is a prime subject for pictorial bookplates. They might include buildings of great note, such as Cathedrals, castles, and city halls, and it is a great pleasure to observe how a clever artist can suggest the scale of a large building within the restricted area of an ordinary ex libris. A delightful example which immediately comes to mind is the private and now tremendously rare bookplate of Antonio Gaudi, the brilliant Spanish or Catalan architect, whose world-famous Sagrada Familia Cathedral and many other superb domestic buildings, draw so many modern pilgrims each year to his beautiful city of Barcelona. His bookplate shows an image of some of his futuristic spires, and is redolent of the period.

However, the topic of architecture and ex libris is so vast, that on this occasion I plan to deal only with private homes of various sizes chosen by their proud owners to be the subject of private ex libris plates. On the whole, the houses we see pictured in ex libris are far larger than most private homes being built today. Now, we value comfort, convenience and ease of up-keep in our homes, while ‘building for show’ takes a definite second place, so that in Britain and in most places on the Continent of Europe, most very large private homes have found a new lease of life as corporate offices, schools, and so on. Moderately large houses have found millionaire occupants, and the large majority of city dwellers choose the convenience and comparative safety of sky living in convenient modern flats – not larger than can be easily maintained without or with minimal help. True, there has recently been a reverse trend in Britain toward the purchase of country homes; and some town dwellers, fed up with the noise and bad air of modern towns are finding refurbishing and enjoying life in ancient reconditioned barns, and other country buildings as well as the more usual but far more expensive picturesque cottages.

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Ex libris by Bernhard Wedepohl show thatched rustic buildings which were obviously very comfortable country homes in rural Germany during the first three decades of the last century. And, most delightful of all to my mind, were those which pictured cottages at night with the lamp light showing through the windows, and the impression in my mind that inside sturdy men in lederhosen are sitting in front of blazing stoves with their comfortable fraus, drinking schnapps, and listening to Wagner on the gramophone.

The fashion for ‘house’ ex libris dates as far back as the 1880s, when the houses which figure in exlibris are stolid and spacious rather than picturesque. Some of these homes seem to be set in small parks or swathes of woodlands sufficiently detached in their setting as to show no other building apart from the house chosen for the plate – this might, of course, be artistic licence as in the sketches in many house agents. One plate, here shown, shows not only part of the interior of a large house including a massive staircase, but also the impressive but not particularly artistic exterior of the house. Large homes at this period were a great asset to families which might have half dozen or more children and a number of servants, but the more general use of electric lighting, gas cookers, refrigerators, vacuum cleaners, telephones, etc. gradually gave the coup de grace to the large house and garden, while at the same time better paid jobs in commerce and industry took away the available house servants of both sexes.

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The turn of the century and a few decades following was a time of great popularity for bookplates. Anyone who had a bookcase full of books felt he or she needed a bookplate as did many who had hardly any books at all, as a nice bookplate became a harmless method of showing off a little. Amongst the wealthier classes in Britain (with even a few wealthy Americans and Canadians), a popular type of bookplate was meticulously engraved with almost photographic accuracy to show not only the houses, but the grounds, pets, and other possessions of the well-heeled customers who flocked to Mr. W. P. Barrett of Bumpus – London’s finest book shop at the period. The bookplates were engraved by contract engravers working in their own premises, but it was Barrett to whom they looked for their work, and it was he who visited the clients and planned the work in great detail. These bookplates were expensive and had limited appeal, but Barrett was patronized by the Royal Family, and so by most of the wealthier people of the time, and these bookplates encapsulate a style of house and garden, then at its zenith, but soon to be outmoded by problems left by the First World War. One rather elegant manner of boasting in a Barrett style plate was what might be termed the ‘talkative footman’ style, in which the owner tried to cram into a ‘house plate’ some reference to his (it was generally a man) expensive school and college and/or his expensive hobbies, such as shooting, hunting, and so on. Ladies would be more likely to include a picture of an adored dog or cat. Other harmless bits of ‘show off’ in the house plates of successful entrepreneurs might be the casual inclusion of a piece of classical sculpture or a mostly unread library. As we look at them today, bookplates such as these, can tell much about the lifestyle and the foibles of the owners as well as about their houses.

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In Britain many of the ‘stately homes’ have survived as museums of some kind, but on the continent of Europe, many were destroyed in the two world wars or, as in Britain, converted into hotels, etc. However, smaller homes have mostly survived still, fortunately, as family homes. Thatched roofs now attract large insurance premiums, but the proud owners pay willingly in the comfortable knowledge that their beautiful, warm, thatched homes are increasingly greatly in value year by year. Similarly, stone houses, once unpopular as being thought cold and draughty, are now comfortable at all seasons with air conditioning, under-floor heating, etc. so that small terrace houses and country cottages are being upgraded or ‘gentrified’ as we say in colloquial English with elegant ensuite bathrooms and neat kitchens, winkled into small areas of waste space, while the house exteriors retain all their period charm. The fashion for illustrating one’s home, library, study, or garden in a bookplate has, for the time at least, rather died out. It seems that most collectors find more pleasure in plates showing lovely women. But women, I feel sure, if they choose new bookplates, will not opt for pictures of handsome men, but will choose rather images of smart kitchens, cosy living rooms and elegant homes.

Barking Bookplates I

Barking Bookplates

By

Millicent Vetterlein

(Reprinted with permission from “Bark”, Summer ’04)

In the 16th century, hounds, whippets and books were the SUVs and diamonds of European nobility – these most visible badges of affluence, prized by owners, are now esteemed by collectors the world over for their identifying tags and labels.

Safeguarding and identifying such cherished possessions as a hound or a Bible in the Middle Ages crated a new métier for artists and artisan. The need for a metal collar or a customized bookplate became occasion to decorate and adorn. Thus, a miniature art from emerged. A coat of arms might embellish a metal collar or become the ornamentation on a newly acquired manuscript.

While countless tapestries show the ornate wide collars of the hounds, the 550-year-old history of the emblem of identification known as the ex libris, or bookplate, is less well-known.

Primarily a European phenomenon, bookplates evolved from coats of arms to become far more illustrative labels. Usually placed on the inside front cover of a book, the words ex libris (meaning “from the books of …”) would be printed or scripted, followed by the owner’s name or signature along with a design or image – together forming a kind of monogram, or a literary tattoo. Within a framework of several inches, these delightful, expressive paper rectangles often told a story or held a secret. And in every period of plate making, one can find canine images. Pedigreed patricians, humorous mongrels and specific pets are all represented.

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No wonder the canine image has been chosen by so many booklovers for their plates – the dog is almost universally symbolic of protection, fidelity and duty, as well as companionship. Well-know bookplate designer and collector Edward Gordon Craig observed, “A bookplate is to a book what a collar is to a dog.” People who cherish both books and dogs are reluctant to part with either without promise of safe return.

While artistic value of bookplates had long been appreciated, it was not until just over a hundred years ago that plates moved from functional private ownership into the hands of collectors.

Today, societies of collectors exist in more than 50 countries, and Internet correspondence makes collecting easy. Most plates, including historic ones, can be purchased for under $10, making them a very affordable collectible. Distant friendships grow as one expands a collection, or focuses on a type, a theme or a breed.

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Artists are still creating these miniature works of art. Methods of etching, woodblock and silkscreen are popular, along with traditional printing techniques and even computer-assisted creation.

A commissioned plate in a limited edition signed by the artist may fetch several hundred dollars. Plates not used in a personal library can be traded to launch a collection.

Designing one’s own ex libris – or “Ex Webis” for Internet junkies – is also possible. The designing of a plate can involve a wonderful collaboration with an artist. (this booklover’s bonus has not been lost on the past few centuries’ weather folk, who’ve commissioned designs from artists and engravers such as Albrecht Dürer, Marc Chagall and Kate Greenaway). The unique result is often a memorial to a special pet or a celebration of the dog in one’s life – Call of the Wild author Jack London used a picture of a wolf on his bookplate. But whatever one’s interest, the bookplate aficionado will be warmly welcomed into this growing collecting specialty.

The Metaphysical World of Alexander Aksinin I

The Metaphysical World of Alexander Aksinin in Ex Libris

By

Ilya Libenzon


When I started collecting bookplates a couple of years ago, I was fortunate to make the acquaintance of Nadia Kovalenko, the director of Kharkiv’s bookplate society in Ukraine. After several months of correspondence, she sent me a letter along with the copy of one ex libris of a gifted artist. She said: “… three years ago I discovered the bookplates of Alexander Aksinin. I am sending you one of these bookplates. At the time I thought that this artist is a genius but, unfortunately, I couldn’t find anybody who knew anything more about the artist, except for Nikolai Molochinskiy, Kharkiv’s graphic artist from our ex libris society. He told me that Aksinin is from Lviv, Ukraine, and that he died in a car or plane accident in 1985. And that was all the information I could unearth. Later, I realized that Aksinin had occupied a very special place in my mind.” Nadia asked for my opinion of the ex libris she sent. Here is my attempt to decipher the content of his work.

It is an interesting ex libris, inviting us to interpret its meaning. The technique is superb and the content is even more fascinating. It seems that even from the words “Memorial Ex Libris… one could assume that the work was done for a special occasion such as an anniversary, most like a marriage. This assumption appears to be reinforced by the fortress or house in the form of a cone, symbolizing the family and the red stripes can represent the bond of the couple. As for the apple and pear, I don’t have any particular idea; however, in the aforementioned context the half-eaten apple might symbolize 50 years of married life (associating the apple with Adam and Eve). As for the other fruit, a pear without an apple was always associated with the male’s genitals, although I am not sure how to link it to this particular image. From the look of these two creatures, one could guess that the owners of the bookplate prefer the science fiction titles in their library. The most ambiguous element of this work is the cone. Usually this is associated with the tower of Babel, but in this case the cone appears upside down.

Soon thereafter, Nadia Kovalenko referred me to the excellent article written by Viktor Rivaling, published in the Toronto Slavic Quarterly web journal. There I learned that “Alexander Aksinin (1949-1985) was a graphic artist specializing in engravings. He was killed in an airplane crash while en route to the opening of an exhibition of his works in Tallinn. V. Rivulet’s article was first published in the journal Chasy, no. 36 (1982); portions of it also appeared in K. Kaminski’s Antologgia Globoid lagoon.”

In his article, Victor introduces the reader to one of his won bookplates made by A. Aksinin. I have this bookplate in my collection as well. Here is what the author of the article writes in regards to the work:

“On one of the walls of my apartment hangs a bookplate by Aksinin. There is a strange creature, a semi animal or semi human formed by triangles in the center of an ellipse surrounded by a geometrical ornament on the perimeter at the edge of the figure. It renders a

The Metaphysical World of Alexander Aksinin II

beautiful and irregular pattern. A friend, who is a specialist on Eastern poetry, visited me one day and pointed out on the bookplate. “Oh, you have ‘Leila and Medgun’ here in the picture”. This is a well known story in the Far East about love, death, dignity and the victory of human passion. This work is unique because it recreates the old traditions in art where the story is told by means of graphics. And most of the Aksinin’s works contain a complete story.”

Further investigation led to the discovery of the 2001 issue of the art magazine “Galitskaya Brama” printed by the Center of Europe Press, dedicated entirely to the artist. From there I learned that during his short life Aksinin created around 300 graphic works, mostly executed on etchings and copper engravings. His portfolio contains illustrations of Lewis Carroll’s Alice in Wonderland (1976-77) and Jonathan Swift’s Gulliver’s Travels (1977-78). He also worked on The Book of Changes or I Ching, based on Chinese ancient philosophy (1984-85); a series of etchings dedicated to the Netherlands’s artist Hieronymus Bosch (1977-78); Signs of the Zodiac (1979); Sounds (1980); Months (1980); Words (1980-81); Mail of Alexander Aksinin (1983-85) and bookplates for relatives, friends and numerous acquaintances.

One of the themes that interested me the most was I Ching or the Book of Changes. The oracles in ancient times used this book to predict the future and this text became a source of wisdom and provided a foundation for Confucian philosophy.

I think that Alexander Aksinin and his graphic work contributed to the interpretation of such complex works. Here we have an example of one of the artist’s prints dedicated to the Book of Changes , translated from Chinese by Richard Wilhelm.

“This hexagram is number 52. The image of this hexagram is the mountain, the youngest son of heaven and earth. It calls for peace and tranquility. When a man has become calm, he may turn to the outside world. He no longer sees in it struggle of individual beings, and therefore he has the true peace of mind which is needed for understanding the great laws of the universe and for acting in harmony with them. Possibly the words of the text embody directions for the practice of yoga.”

It would be unfair not to mention the influence of such artists as Bosch and Bruegel to Aksinin’s work given that there is an entire series called “Boschiniana”. Moreover, his work “Tower of Babel Will be Built” was executed reminiscing Bruegel’s “Tower of Babel”. There are some symbols used in his illustrations frequently found in these two great masters as well.

One of these metaphorical symbols is a fruit, associated with carnal, physical pleasure. Borrowing some of this secret language, Aksinin created his own metaphysical world. Here is presented a bookplate of my collection illustrating an example of his utilization of these symbols.

The Metaphysical World of Alexander Aksinin in Ex Libris III

The combination of fruits and fish, the depiction of a phantasmagoric creature sitting on the magnifying glass, and the extraterrestrial landscape are all reminiscent of the Netherlands’s masters. It is as if Aksinin is telling us with some irony, “I have done my part, now it is your turn to solve this puzzle.” The fine detail of his prints impresses me as much as the figurative content of the work.

Recently I acquired the artist’s personal bookplate from an estate sale on EBay. As always with Aksinin’s prints, I could not grasp the meaning of the work at first glance, but it had a hypnotic effect on me. Looking at the etching, it seemed to me that I was witnessing the end of the human race. Then I asked my wife for her opinion and her impression was the creation of the world. It was surprising to me to note such different perceptions of the same piece.

I looked closely at this print and recognized the seashells in the suspended objects. The seashell is a symbol of the beginning and end; its duality is masterfully realized in this work. The creation of the world, the birth of souls and at the same time the ascending of souls, describing the end of existence on earth.

The process of perception in the work can be broken into the following elements: a) first impression, I had an impression of cosmic transformation; b) associations, creation of the universe or the world and the illusion of souls leaving the earth; c) information sent by the image, symbols, codes, such as the seashell symbolizing duality; d) self reflection or analysis, reasons behind my perception of the destruction of the world, while my wife thought of its creation; e) how this particular piece relates to the artist, his philosophical preferences, biography, etc., f) and finally, but the most important element for a bookplate collector, is how the ex libris is a reflection of its owner and library.

Many of the owners of Alexander Aksinin’s bookplates have never commissioned ex libris the way most collectors do. Alexander’s friends were simply given the prints as gifts without any real input into the design. That is why is so difficult to determine the link between the bookplate’s owner and the artist. I am confident that in the future there will be plenty of research on the graphic art of Alexander Aksinin, the artist who raised bookplate art to the level of Bruegel and Bosch.

Katsue Inoue I

Katsue Inoue

By

Cliff Parfit

I first met Katsue Inoue at her superb one man show in the art gallery of the Daimaru Store in Shimonoseki City. In Japan, art exhibitions are often held in the major department stores, and gallery-goers have the additional pleasure of being able to purchase any of the exhibits on the spot. Her works were all woodblock prints (what the Japanese call 'Sosaku Hanga') though most were so large that I marveled at her technical virtuosity.

The prints were mostly of flowers, and those which impressed me had a nostalgic, Art Nouveau atmosphere though, at the same time, many lively, modern touches. There were, in particular, some brilliant prints of poppies with long sinuous stems. It was impossible not to admire them, and yet I was conscious of the fact that there was hardly a suitable wall-space for such prints in my book-filled home, so my mind turned to ex libris, and I wondered whether the artist could make an ex libris with the power of those large prints. When I consulted her through the agency of Nobuko my wife, she was in some doubt about it; also she had never made an ex libris before. We had no time for a long discussion as she had to catch her plane back to Tokyo, but she kindly agreed to do her best, and in a few weeks I had a welcome call from the store to say that my ex libris plates were ready. The lettering in unfamiliar English script was not perfect, but the general impression was delightful, especially as many of them were hand-colored by the artist. Soon after, in 1982 she designed some more bookplates-this time with elegant lettering in Japanese and I had the pleasure of introducing a new artist of original talent to the ex libris world. Not that she was unknown as an artist, as she had been responsible for many exhibitions and had undertaken many important and difficult projects such as large murals for Buddhist temples and other historical buildings.

She had, however, proved her ability to adapt her powerful conceptions within the small space of an ex libris, and was soon to exhibit her plates in the exhibitions of the Nippon Ex Libris Association. Her ex libris were commissioned by people well known in Japanese society and in 1986 she brought out a boxed folio of fine ex libris in a limited edition. One of the plates, for Miss Michiko Nagai, the well known author, was of a Heian style woman with long straight hair and several voluminous kimonos. It seemed to have been printed from a large number of blocks and was proof that Katsue had the patience and technical skill to print such a complex and demanding plate. I immediately asked her to make me a similar plate with the image of Murasaki Shikibu the author of one of my favorite books (though in translation, as few Japanese even can read such very ancient Manyogana Script) the world's first novel, The Tale of Gengi.

It was some time before she was able to find the time for such a project, but one day the package arrived. Printed from ten blocks, it was superb in color scheme and design. It has always been one of my most popular plates but I was not at all keen to exchange it as the number printed was small.

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Of course it had been very time-consuming in production and was of necessity, expensive. It is an entirely timeless plate which has been much admired over the years.

Katsue has been for many years a familiar figure at the congresses of the Japan Ex Libris Association and is recognized as one of the classic artists of the present age. There is no formula for her bookplates, they range widely from abstract designs to portraits, landscapes, seascapes, flower fantasies and anything that takes her fancy or is requested by her clients. A small selection of her considerable output of bookplates is presented here but, of course, in the life of such a well known artist, ex libris art must be a minor aspect of her busy life.

Katsue’s work are widely exhibited in Japan. Although, it must here be admitted that bookplates do not look their best in a gallery setting; there, large framed works dominate the eye. Bookplates come into their own in a private setting where one can sit comfortably and examine them closely and at leisure to enjoy the artist's elegant conceptions, the jewel-like precision of her technique and all the fine qualities of a fine artist-craftsperson at the peak of her skill.

It should here be mentioned that Katsue is admired and respected by her fellow artists. As long ago as 1981 she was elected a Director of Japan Itagain - the professional association of Japanese woodblock artists (which however, has one American member (though long resident in Japan) in the person of Mr. Clifton Karhu). The term Itaga refers to the skill of employing the grain of the wood in the design of woodblock prints.

Through this Association, Katsue often shows her work in group exhibitions which are perhaps more common here in cooperative, friendly Japan than in countries where artists have to make a lone bid for personal recognition. Here in Japan the traditional, painstaking processes involved in cutting and printing a plate connect modern woodblock artists, however tenuously, with the great artists of the past such as Utamaro and Hiroshige, though they worked in entirely different circumstances. Katsue is of course, an exponent of the Sosaku-Hanga process introduced into Japan by Kanae Yamamoto in the early years of the past century though in her paintings in ancient temples she follows a far older tradition. Sometimes the two traditions are fused as in my Murasaki Shikibu plate, but this was
clearly a serendipitous work of art, as with her wide experience of Heian art she is a brilliant interpreter of that high level of culture in ancient Japan which contrasts so vividly with the crude, largely illiterate society of contemporary Europe.

When my wife and I met Katsue on November 30th at the Amelia Gallery in Tokyo, she was dressed entirely in black enlivened with the glittering silver bracelets and rings she loves. Even her short cropped hair was black though now with a hint of silver here and there. We were surprised to find that in the whole exhibition every work was executed in black and white only. She explained to us that she has for some time been experimenting with black pigments and recognizes as many as seven different varieties of black in her work.

Katsue Inoue III

To my mind her work has become more cerebral and perhaps more serious but in her conversation she was the same woman we had always known, a littlesaddened by the death of fine fellow artists such as Mr. Yonejiro Sato, but still bubbling over with new projects and full of news of her work. We learned that in addition to her work on Buddhist temples, she undertakes large, demanding projects in the decoration of hotels and hospitals and that she is giving five days a month to lecturing at the Yomiuri Culture Center. I feel sure that her teaching and lecturing must be of great value as she is a born communicator whether visually in her art, or in her exciting and original ideas and conversation.

Again, I noted an Art Nouveau flavor in many of her images, but yet her work is still entirely up to the moment. We chatted a little about the empty rooms, piles of bricks, pickled sheep, unmade beds and tatty collages etc which pass as 'high art' at the present time but agreed that this kind of stuff was just a transient blip in the long and generally honorable history of art. One cannot but wonder how museums of the future will find lumber rooms big enough to hold all this junk.

The bookplates here illustrated are selected from the wide range of Katsue Inoue's work, some delicate and feminine and others bold and powerful, but as I have previously remarked, Japanese bookplates need to be seen in the originals perhaps more so than the plates of any other country. The choice of the paper (still made by hand in this country of mass production and robotization!) the delicate hand-coloring and the seven varieties of black can be perceived only by the human eye at quite close quarters. An illustration, even in color, can never quite do justice to the original work.

I had some difficulty in following her description of the infinite care and trouble she takes in preparing the black pigments in which she prints her work and her reasons for going to so much trouble. As I listened I was reminded forcibly of the painters of the Renaissance laboriously grinding their lapis lazuli and other mineral products to make those gorgeous colors which no modern paint manufacturer could hope to emulate. Yet this is still part and parcel of Japanese art - - the patient effort to achieve exactly what lives in the mind's eye of the artist.

Though in her active and busy artistic life bookplates can command only a small portion of her attention, I still regard her as one of the outstanding ex libris artists of the present generation.

Two Leipzig Bookplates I

TWO LEIPZIG BOOKPLATES

By

Irene Lawford-Hinrichsen

The Background

Every bookplate has a story to tell; but not many of those stories will recount the horrendous series of tragedies represented by the two examples shown here. They were created as presents from my grandfather, Geheimrat Dr. Henri Hinrichsen, to my grandmother, Martha Hinrichsen and to their third son, my uncle, Hans-Joachim Hinrichsen. The huge cumulative sorrow, which these bookplates carry, is a small part of the much greater tragedy, which we all know of as the Holocaust.

Henri Hinrichsen (born in Hamburg in 1868) was the proprietor of the famous music publishing company of C.F. Peters, Leipzig (founded in December 1800). He had entered the company, which belonged to his uncle, Dr. Max Abraham, in 1887 at the age of 19, becoming his uncle's partner in 1894. On Dr. Abraham's death in 1900, my grandfather became sole proprietor. The business thrived and prospered under his careful guidance. With the profits, he became a most generous benefactor to many Leipzig institutions, musicians and individuals. He was a respected member of the town council and on the committees of several worthy institutions, as well as supporting many other organizations. In 1911, he became the founding benefactor of the first All Women's College in Germany - the Henriette Goldschmidt Schule - which he continued to fund for over twenty years. He carried all the financial costs of staffing and of new acquisitions for the Peters Music Library, which Dr. Abraham had presented to Leipzig in 1894. He himself donated the collection of 2,600 musical instruments, which formed the Musical Instruments Museum, to Leipzig in 1926. For all his generous benefactions in the cause of education and for the promotion of German music, my grandfather was awarded an Honorary Doctorate of Leipzig University in 1929.

Meanwhile, in 1898 he had married Martha Bendix from Berlin. This happy marriage produced seven children over the course of the next twenty years - five sons and two daughters. In due course, the three eldest sons: Max (who eventually became my father), Walter and the aforementioned Hans-Joachim joined the business.

Apart from being a music publisher, Henri Hinrichsen was a great book-lover. He was one of the founding members of the Leipzig Bibliophiles Association in 1904, a group of 99 gentlemen (no ladies admitted) who called themselves "the Ninetyniners". They were all connected with the book and printing trades; amongst their members were book publishers, music publishers, printers, book designers, graphic artists, paper merchants, book dealers, writers, editors, etc. Many of these were amongst my grandfather's closest friends. One of these, the graphic artist Professor Hugo Steiner-Prag, was always a welcome guest in my grandparents' home; it was he whom my grandfather commissioned to design a bookplate for my grandmother's 50th birthday, in 1929.

The Design of Martha Hinrichsen's bookplate

The bookplate is engraved and printed in redish-sepia colour on good quality, heavy cream coloured paper. Size: 10cms x 14.5cms. Signed in pencil by the artist. The design is very allegorical, but sadly there is nobody alive to tell me exactly what it means. I think that the trees bending towards each refer to the great love between my grandparents. The seven intertwining branches of the trees probably signify that their union produced seven children. The Janus-effect portraits do not depict Martha and Henri Hinrichsen.

Two Leipzig Bookplates II

The Designer: Hugo Steiner-Prag

Hugo Steiner-Prag was a famous graphic artist, book illustrator and stage designer during the first half of the 20th century. Born in Prague, Czechoslovakia in 1880 as Hugo Steiner, he added the "Prag" to his name later. From 1907 onwards he taught at the Academy for Graphic Arts and Book Design in Leipzig, where he became Professor in 1910. He worked for many publishers and was the Art Director of the Propyläen Publishing Company and organizer of the IBA (International Book Artists) Exhibition in 1927. He also organized the exhibition for the centenary of Goethe's death: "Goethe in the Book Art of the World" in 1932. As a Jew, Hugo Steiner-Prag was dismissed from his post when the Nazis came to power in 1933. He returned home to Czechoslovakia, but when the Germans invaded his country he fled to the USA. He never returned to Europe, dying in New York in 1945.

The Design of Dr Hans-Joachim Hinrichsen's Bookplate

This was probably created in 1930, for Hans-Joachim's 21st birthday. It is a reproduction of a photograph taken around 1915, printed in sepia on cream coloured paper. Size: 10cms x 7cms. It shows the house: 10 Tal Strasse in Leipzig, which was the business premises of the Music Publishing Company - Musikverlag C.F. Peters, and also the home of the Hinrichsen family. Otto Brückewald, the architect who also designed Wagner's Festspielhaus in Bayreuth, designed the house. Commissioned by Dr. Max Abraham in 1873 the company moved in, in August 1874. In 1905 Henri Hinrichsen added an elegant looking new warehouse (the two-story building on the left), designed by another fine architect, Clemens Thieme. The flat roof became a beautiful roof garden. At that time the house was also modernized and refurbished, when central heating was installed (electric light having been in place since 1896).

The Tragedy

When the Nazis came to power in 1933, Hugo Steiner-Prag was not the only one to be affected. The Hinrichsen family was also Jewish. Descended from Sephardic Jews, my grandfather had always been proud of his family having been German citizens for almost 300 years. As an important citizen of Leipzig he did not think that the horrors perpetrated by his fatherland would be directed against himself and his family. In 1938 the music publishing business was confiscated and "aryanized" - sold to a suitably qualified non-Jew; grandfather never received a penny. The house was also confiscated from him and he had to give up his keys. His entire family was persecuted; fourteen close members were transported and died in various concentration camps. My grandparents managed to escape to Brussels in 1940, where Hans-Joachim joined them some six weeks later. When the Germans invaded Belgium my elderly grandparents had nowhere else to go and were awaiting a visa to immigrate to the USA. Hans-Joachim escaped to France, where the Gestapo caught him and imprisoned him in Perpignan; he died there a few weeks later, aged 31. My grandmother, who suffered from Diabetes, was dependent upon insulin; as a Jew, she was not permitted to have any. She died in Brussels in 1941. It was probably a blessing, because in 1942 my 74 year-old grandfather, Dr. Henri Hinrichsen, was transported to Auschwitz where, on arrival, he was taken on a lorry with all others over 50, to be gassed in Birkenau. In 1943 my grandparents' younger son, my uncle Paul, was also gassed in Auschwitz. Like Hans-Joachim, he was 31. The same fate awaited their daughter, my aunt Ilse's family - her husband, Dr. Ludwig Frankenthal along with their two little sons were gassed, whilst Ilse, incredibly survived the horrors of five concentration camps.