What is not in the "Baedeker"

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The Book of Hungary and Budapest (1928), cover by Eugen Feiks
The Book of Cologne / Düsseldorf, Bonn (1928), cover by Ernst Aufseeser

What is not in the "Baedeker" was a series of 17 volumes published by Piper Verlag in Munich from 1927 to 1938 , which saw themselves as alternative travelogues in the columnar style. The series titles were provided with black and white illustrations by well-known book artists and mostly with bindings based on designs by Walter Trier .

Content and authors

The row concept

The series edited by the publishing house's Jewish partner, Robert Freund, was devoted to selected European metropolises, German medium-sized towns, some including neighboring towns, some well-known landscapes at home and abroad, but at least the whole of Switzerland in two volumes. Due to the limited number of titles, which is certainly related to the political development from 1933 onwards, which may have led to the largest possible discontinuation of the book series, there is no representative cross-section of German and European travel destinations, only a kaleidoscope of selected destinations. The series volumes should develop their effect as a tongue-in-cheek alternative to the very factual and, from the point of view of the Baedeker Verlag , what is essential for the traveler, Baedeker content. The descriptions of the places and landscapes were not understood as travel guides in the traditional sense, as their format and equipment were not suitable for use on the go. Rather, they reflected, in columnar style, above all the atmosphere of the travel destinations covered and in doing so often directed the reader's gaze behind the scenes of the tourist facades. Just at the eponymous German cities pointedly written texts provide today informative demolitions of their diverse cultural and intellectual and political life at the output of the Weimar Republic , which after the soon following seizure of power by Hitler , who in the band Munich not mentioned several times more than to be missed tourist attraction will, first of all, be deprived of its liberal and progressive, but above all Jewish, element and finally perish in the following war years. The capital of Austria, which was annexed to Germany less than a decade later, shared this fate . Quite a few of the people mentioned in the books later found themselves on the official persecution lists of the German Reich and in the emigrant circles abroad.
In addition to the table of contents, the contents of the volumes were made accessible through registers on the places, people and topics mentioned.

The authors of the individual series volumes

Series development by early 1933

Advertisement for the book series in the magazine die neue stadt (5/1932)
  • Berlin

The series kick-off for the German capital was not written by a native Berliner - Hans Ostwald , for example, would have been considered here - but by the Hungarian-born journalist, book and screenwriter Eugen Szatmari, who slightly revised the volume twice. While the first edition was equipped with a subject index - the 11th to 15th thousand only had one entry in the table of contents left - the following two came up with the new section “Brief advice for travelers to Berlin”, which deals with practical issues Everyday questions during your stay in Berlin, such as post offices, transport or steam bathing. The number of initially 36 illustrations was reduced to 32 from the 11th thousand, and only then were all 9 artists included on the title page. The third edition still mentions Derso, although there is no longer an illustration signed with his name in the volume. The newly recorded, unsigned drawing by Chancellor Gustav Brüning obviously does not correspond to his style. While a possible prospective appointment of Hermann Müller as Reich Chancellor by the Reich President is mentioned in the chapter "Between Wilhelmstrasse and Platz der Republik - Government Quarter and Parliament" up to the 15th thousand, the assumption of Gustav Brüning as the new Reich Chancellor was discussed in the last edition - the publication of this edition can therefore be dated to around the end of 1930. For the first time in this edition, the "Nazis" represented in the Reichstag with 18.3% (increase of 15.5% compared to 1928 ) as a result of the Reichstag election of September 1930 are mentioned as a new strong political force.

  • Follow-up volumes

The editor of the Zeitgeist magazine Der Cross section , Hermann von Wedderkop , contributed five series volumes, three of which were dedicated to the European metropolises of London, Paris and Rome . In the cultural life of their current or former hometowns led u. a. the humorous writer Hans Reimann ( Das Buch von Leipzig ), who had lived in Leipzig until 1925, and Hans Harbeck ( Das Buch von Hamburg ), who was friends with the writer and cabaret artist Carl Wolff . Ludwig Hirschfeld, who was deported to Auschwitz on November 6, 1942, was to become a victim of the National Socialist persecution of the Jews , who with the second volume of the series made his home town accessible to readers interested in literature, culture and tourism. The Book of Vienna was the only volume to be translated into English in 1929, including the redesign of the cover drawing by Walter Trier and the illustrations , for which TW Mac Callum, who was the author of language textbooks at the time, was responsible. The co-author of the title Das Buch von München , Hermann Sinsheimer - co-author was the former editor-in-chief of the satirical magazine Simplicissimus Peter Scher - was also subject to persecution as a Jewish author, but was able to flee to England via Palestine in 1938, in contrast to Hirschfeld, who was arrested during his emigration in Paris . The country band The Book of the Rhineland , which its securities and the content-side match in a legendary Baedeker band, the 1835 first published Rhine journey from Strasbourg to Rotterdam , had been edited by Herbert Eulenberg, while the book of Italy, one of Venice , the Upper Italian lakes and Tuscany , a travel area that many Germans liked to visit even then, and Hermann von Wedderkop led the pen. Finally, among the authors are the young German intellectuals Erika and Klaus Mann. With the volume Riviera, Thomas Mann's children had processed a trip there in 1931. Their friend, the writer and journalist Annemarie Schwarzenbach, who comes from Zurich , wrote the two Switzerland volumes together with Hans Rudolf Schmid, with which the series program was initially concluded in 1933.


The series from 1933

In view of the new political conditions in Germany, a continuation of the series with further titles was no longer an option. Both the choice of authors and the mostly very liberal content of the texts were diametrically opposed to the cultural and political guidelines of the Nazi regime. In the 1935 published almanac “30 years of R. Piper & Co Verlag. Almanach 1935 “, however, all editions except for the Riviera volume no. XIV are listed as available. Its authors emigrated in 1933 - Klaus Mann was on the list of harmful and undesirable literature ; he and his sister fought against the political conditions in the German Reich as a journalist from abroad - they were no longer tenable for the publisher. The relative rarity of this book is therefore likely to be related to a spoilage of stocks that were still available at the publisher after 1933 and became unsaleable. In the case of the other volumes, it was initially still possible to sell the stocks in accordance with current practice; from 1936, however, the situation worsened.

Follow-up edition of the Rome volume in 1938

The Book of Rome (1938), cover probably by Rudolf Großmann (unsigned)

Nevertheless, Volume XIII, dedicated to the "Eternal City" , was given a slightly revised edition in 1938. It was certainly not least a product of the political rapprochement between the two fascist states of Italy and Germany during this period . However, the section " Fascism and Tradition" announced in the table of contents of the book was not included in the volume after all. In its place, the original text “Not completely, but personally!” Remained, as the revision of the content was very limited. The two-page foreword by Wedderkopp from the first edition, addressed to the Jewish Germanist Victor Manheimer , was missing , but the division of the chapters and their content were largely retained. Despite his rapid political development since 1931, no iota has been added to the eulogy for Mussolini . In return, the drawings of Rudolf Großmann, who was defamed as " degenerate " by the National Socialists, continued to adorn the volume with his full signature. In contrast, Walter Trier, who was forced to emigrate in 1936 due to his Jewish descent, but also because of his political satire, was of course no longer wearable as a cover illustrator, so that a new cover design with an antique column torso in front of the silhouette of St. Peter's Basilica had to be designed for the book.

Features, requirements and price

Illustrators

The volumes were provided with black and white illustrations by popular, mostly contemporary artists. Just as with the authors, the illustrators had a special relationship with the city, which, apart from three volumes, they illustrated with artist colleagues. So at the beginning of the series in the Berlin band u. a. Heinrich Zille, who died in 1929, with his Zille-Milljöh depictions, as well as the professor at the Art School Rudolf Großmann and the Berlin-based press illustrator BF Dolbin with their drawings for the authentic local color . Pablo Picasso, Henri Matisse, Jean Cocteau and Jules Pascin, who came from Bulgaria and who committed suicide in 1930, a year after the book was published, were among the illustrators of the volume dedicated to the art metropolis of Paris artistic avant-garde. The important exponent of New Objectivity Max Unold, together with the caricaturist Josef Benedikt Engl and Olaf Gulbransson, who held a professorship at the Royal School of Applied Arts in Munich, and other artists captured life in Munich for the city volume Das Buch von München , published in 1928 . Other well-known illustrators who made artistic contributions to the design of the volumes were Erich Ohser and Walter Buhe ( The Book of Leipzig ), Ernst Aufseeser and Georges Schreiber ( The Book of Cologne, Düsseldorf / Bonn ), Franz M. Jansen and Otto Pankok ( Das Buch vom Rheinland ) as well as the children's book illustrator Tibor Gergely, who had also drawn for the only English title ( Vienna ), or Hans Tomamichel (1899–1984), who provided both Swiss volumes with drawings alone.

pads

The volumes went on sale with initial print runs of between 5,000 and 10,000 pieces in three cover variants. Many volumes do not have a print run, which is usually not found in the relevant library catalogs.

Bindings

Advertisement for titles in this series in Ostwald's "Berlinerisch" (1932)

For the first two titles Berlin and Vienna , robust cardboard volumes were initially used in the first edition. The Berlin band later small bond rate is Broschur -Einbindung known. For the subsequent editions and titles, there were only brochures and red, and for some titles also yellow, linen editions with dust jackets. The book covers or dust jackets of 14 of these titles, only the first edition of the Rome volume, were designed by the graphic artist Walter Trier, who was otherwise not involved in the illustration of the volumes, with colored drawings on a bright yellow background. For the other three, this was the responsibility of one of the band illustrators.

There is a late binding rate of the English-language volume “The Vienna”, certainly from a time long after Trier's emigration in 1936. With its beige background and graphic design, your brochure cover deviates completely from the series type: Instead of Trier's violin-playing angel, the Viennese Stepped on the ferris wheel . Also, the author Ludwig Hirschfeld, who was of Jewish descent, is no longer mentioned, but the translator TW Mac Callum is put in his place.

Apart from the binding drawing on the front cover and the red title on the back, the dust jackets and bindings mostly contained no further impressions. Only in the two final volumes for Switzerland did the publisher advertise other travel literature as well as this and the related series “What is not in the dictionary” . This was extended to the back cover of the redesigned cover of the Rome volume from 1938, the cover drawing of which has clearly deviated from Walter Trier's typical appearance, where Franz Xaver Zimmermann's “ The Churches of Rome ” and Max Dvořák's “History of Italian Art “Is pointed out. The series volume "Oberitalien" (1931) and the two Switzerland volumes from 1933 are shown in the blurb as still available.

Since the very thin paper of the dust jackets is very sensitive, the dust jackets are very often missing from the linen bindings or, as with the volumes bound in fragile English paperback, they are badly damaged. The top edges of the pages are only protected by a green head cut on the cardboard and linen volumes .

Numbering and sales prices

With the exception of the English-language edition of Vienna , The Vienna, that's not in the Baedeker , the volumes were numbered in Roman numerals . The number "XII" was assigned twice for The Book of the Rhineland and The Book of Rome ( recte : "XIII").

At the end of most of the titles there were lists of the editions available and their prices. After that, depending on the size and features, these ranged between 3.80 (including Budapest and Leipzig in paperback) to 7.50 Reichsmarks , which had to be paid for the linen issues from London and Vienna .

List of all titles published between 1927 and 1938

Row
number 		author title Illustrators '
according to the title page 		Cover design Additionally
mentioned
travel destinations 		Year of issue
Circulation
in thousands 		Pages
(additional advertising) 		Places tab Topics People
I [a] Eugene Szatmari The Book of Berlin Rudolf Großmann , Erich Godal , Dolbin , [Alois] Derso , Heinrich Zille ( anonymous: Conny, [Adalbert] Sipos ) Walter Trier
Selection:
External image
(please note copyrights) 		Potsdam , Werder ,
Märkische Schweiz ,
Rheinsberg u. a. 		1927: 1st – 10th 243
(1) 		TR
I [b] Conny, Derso, Dolbin, Foujita , Erich Godal, Rudolf Großmann, Kelen , Sipos, Heinrich Zille 1929: 11-15
(revised) 		253
(3) 		-
I [c] 1930: 16. – 20.
(revised) 		246
(2) 		-
II [a] Ludwig Hirschfeld The Book of Vienna and Budapest
("Excursion to Budapest" only as an appendix) 		Adalbert Sipos,
Leopold Gedő 		Südbahn , Baden ,
Rax , Burgenland ,
Wachau 		1927: 1st – 10th 278 (18) TR
II [b] The Book of Vienna
(without the "excursion to Budapest") 		1927: 11-20 258 (14)
without
[IIc] 		Ludwig Hirschfeld
(transmission:
T [homas] W [atson] Mac Callum ) 		The Vienna, that's not in the Baedeker
(no series) 		Tibor Gergely ,
Adalbert Sipos
(new illustrations) 		1929: 1st – 10th 262 (6) -
NN
(new design,
binding rate
after 1936)
III Peter Scher
Hermann Sinsheimer 		The Book of Munich Arnold, Engl , [Marcel] Frischmann , Gulbransson , Neu , [Hermann] Rothballer , [Paul] Schondorff , Unold Max Unold Starnberger See ,
Ammersee ,
Chiemsee , Tegernsee 		1928: 1st – 10th 144
(4) 		OR
TR
PR
IV Géza Herczeg
(preface: Ludwig Hirschfeld) 		The Book of Hungary and Budapest Eugen Feiks Eugen Feiks - 1928: 1st - 5th 240
(including advertising: 46) 		OR
TR
PR
V Hermann von Wedderkop The book of Cologne , Düsseldorf , Bonn Ernst Aufseeser ,
Georges Schreiber 		Ernst Aufseeser Ruhr area , Altenberg ,
Siebengebirge , Nürburgring 		1928: NN 230
(2) 		OR
TR
PR
VI Hans Reimann The Book of Leipzig Walter Buhe , Erich Ohser Walter Trier Weimar ,
Grimma 		1929: 1st – 10th 205
(3) 		OR
TR
PR
VII Hermann von Wedderkop The Book of Paris Jean Cocteau , Pablo Picasso , Henri Matisse , Rudolf Großmann, Marlice Hinz, Louis Touchagues , Pierre-Auguste Renoir , Jules Pascin , Käte Wilczynski , Bettina Roon-Hönig , Louis Kahan Fontainebleau ,
Versailles ,
Chantilly 		1929: 1st – 10th 203
(5) 		-
1929: 11-16 210 (6) OR
TR
PR
VIII Hans Harbeck The Book of Hamburg Eugen Denzel , Hans Leip , Kurt Löwengard , Gabriele von Lüttwitz (anonymous: Dolbin) Sachsenwald 1930: 1st - 6th 171
(5) 		OR
TR
PR
IX Hans Reimann The book of Frankfurt ,
Mainz , Wiesbaden 		Karl Friedrich Brust
(1897–1960) 		Offenbach , Bad Homburg 1930: 1st - 5th 207
(1) 		-
X Hermann von Wedderkop The Book of London Paul Bloomfield Oxford , Brighton ,
Southend 		1930: 1st - 5th 230
(2)
XI Hermann von Wedderkop The Book of Northern Italy Fritz Heinsheimer , Georg Walter Rössner - 1931: NN 254
(2) 		OR
XII Herbert Eulenberg The Book of the Rhineland Franz M. Jansen , Otto Pankok - 1931: NN 215
(1) 		OR
XIII [a]
(instead of XII) 		Hermann von Wedderkop The Book of Rome Rudolf Großmann, Felix Meseck , Erna Plachte, Käte Wilczynski, Martin Piper Campagna 1930: NN 276
(4) 		OR
TR
PR
XIII [b]
(instead of XII) 		Rudolf Großmann (?)
(New design) 		1938: NN
(very slightly
revised edition) 		279
XIV Erika Mann
Klaus Mann 		The Book of the Riviera Walther Becker , Henri Matisse, Rudolf Großmann, Martin Piper Walter Trier - 1931: NN 186
(4) 		OR
XV Annemarie Schwarzenbach
Hans Rudolf Schmid
( Eduard Korrodi ) 		The Book of Switzerland .
East and south 		Hans Tomamichel - 1932: NN 240
(8) 		OR
XVI Annemarie Schwarzenbach
Hans Rudolf Schmid
(Eduard Korrodi) 		The Book of Switzerland.
North and west 		Hans Tomamichel - 1933: NN 310
(2) 		OR

Reprints and reprints from other publishers

The English edition, The Vienna , translated by TW Mac Callum, was published in 1931 with the original illustrations in a blue linen edition by the New York publisher Robert M. McBride with a copyright notice from Piper Verlag. The Trier drawing on the dust jacket had given way to a collage of text drawings on a yellow background.

The Connewitzer Verlagbuchhandlung from Leipzig published photomechanical reprints of a total of five titles in 1995 and 1997, probably with editions of 3000 copies each, whereby the edition in the DNB catalog was only listed with 3000 copies for the 1995 editions. These are thread-stitched in sturdy cardboard volumes using the original cover design as far as possible. The contemporary Piper publishing house advertising was supported by titles from the current publishing program of the Connewitzer Verlagbuchhandlung, u. a. the reprint editions in question, added. The following volumes were published in the version of the first edition:

  • The Book of Berlin (Vol. I, 1927) - 1997
  • The Book of Leipzig (Vol. VI, 1929) - 1995
  • The Book of Hamburg (Vol. VIII, 1930) - 1997
  • The Book of Frankfurt, Mainz, Wiesbaden (Vol. IX, 1930) - 1995
  • The Book of the Riviera (Vol. XIV, 1931) - 1997.

Rowohlt Verlag also presented reprints of the volume Riviera der Mann-Geschwister in 2002 and 2004, after the Berlin publisher Silver & Goldstein had launched an edition on the book market in 1989, supplemented with contemporary photographs and an afterword by Martin Ripkens . These editions received modern bindings and are therefore not recognizable as the original series titles. The Leipzig Riviera edition uses the original cover design by Walter Trier, but without the signature “Trier”.

"Wat niet in Baedeker state"

The idea of ​​the Piper publishing house was picked up by the Amsterdam publishing house A. J. G. Strengholt around 1930. Volumes with drawings and photos on the cities of Amsterdam (1930), Rotterdam (1931) and The Hague (1931) have been published under the title Wat niet in Baedeker Staat .

"What is not in the dictionary"

In 1931, following on from the motto of alternative travel guides, the seven-title series Was not in the dictionary followed, with largely identical features . Again, almost exclusively Walter Trier supplied the cover designs until he had to emigrate in 1936. The last title in the series was published in 1937. Two volumes saw original reprints in the 1950s, later there were also other publishers.

literature

  • 25 years of R. Piper & Co. Verlag 1904-1929 . R. Piper Verlag, Munich 1929

Web links

Individual evidence

  1. ^ Ludwig Hirschfeld: The book of Vienna . 1927, 11. – 20. Thousand, p. 1
  2. ↑ Peter Scher, Hermann Sinsheimer: The book of Munich . R. Piper & Co. Verlag, Munich 1928, pp. 18, 48
  3. ↑ Die neue Stadt magazine (Issue 5 from August 1932, cover page 2, digitized version from the University of Heidelberg )
  4. ↑ Compare p. 53 of 16.-20. Thousand.
  5. ^ In the volume Switzerland. In the back blurb - along with five other volumes - the title of the series “ What is not in the dictionary ” is still in preparation . Kölsch advertised, but did not appear.
  6. ↑ Sometimes the last page of text remained unnumbered, as did mostly the advertising pages that followed. The page numbers given in the table refer to the actually included printed pages.
  7. ↑ a b c d Page counting starts with the first page of text. The sheets up to the beginning of the text remained unnumbered. This means that the actual number of pages is 6 higher.
  8. ↑ a b c d e f g h i j k The volume only contains advertisements from the publisher.
  9. ↑ a b The content of the following edition has been revised without this being stated in the book. This results in a page number that differs from the previous edition.
  10. ↑ In this edition, the two-page subject index announced in the table of contents for page 254 was removed from the volumes by the publisher before the title was delivered. In any case, four copies so far available, including that of the Berlin City Library, were missing a sheet with non-paginated pages 255 and 256, on which the subject index would have been expected. In contrast, the page 254 immediately following the text, printed without a page number, shows advertising for the six following rows from “Vienna” to “Paris” (II-VII).
  11. ↑ a b c d e f g h i j The volume contains advertisements from Piperverlag and other companies.
  12. ↑ a b c d This band also occurs in yellow linen.
  13. ↑ Cf. Frederick George Thomas Bridgham (Ed.): The First World War as a Clash of Cultures . Camden House 2006, p. 250 ( online in the Google book search). MacCallum then worked as one of two lecturers in English language and literature at the University of Vienna until the end of the summer semester of 1914 and then began his summer vacation in Great Britain. Due to the beginning of the First World War , as a citizen of a hostile country, he could not return to Vienna at the beginning of the winter semester in the autumn of the same year. It was only from 1927 to the spring of 1939 that he returned to work in Vienna.
  14. ↑ In the book itself, as well as in the German National Library or other publicly accessible library catalogs, there is no print run. However, the publishing almanac 25 Years R. Piper & Co. Verlag 1904-1929 (p. 184) gives an edition designation “10. Edition 1929 ”. In 1929 there should actually have been two editions with a total of 10,000 copies. In the case of other serial volumes, the publisher only stated the number of printed copies before the edition in the almanac if more than one edition was printed. In this respect, compare the information in the almanac on the same page with the then current 2nd edition (11th – 15th thousand) of the Berlin volume first published in 1927: “1927. 15th edition 1929 ".
  15. ↑ a b The page count starts with the first page of text. The sheets up to the beginning of the text remained unnumbered. This means that the actual number of pages is 8 higher.
  16. ↑ a b c Compare to the artists Eugen Feiks the Hungarian, Louis Touchagues the French and Hans Tomamichel the Italian Wikipedia.
  17. ↑ a b c d e f g h In the book, in the German National Library or in other publicly accessible library catalogs, no print run is specified. At least for the volumes from 1931 (vol. XI ff.), In view of the very difficult situation on the German book market due to the global economic crisis, it can be assumed that the print runs will be 5,000 copies - this number was most recently for the volume for London (vol. X) from 1930 indicated - certainly not exceeded.
  18. ↑ Marlice Hinz was a German fashion draftswoman (further drawings and information about her work: Uni Heidelberg online 1 and Uni Heidelberg online 2 ).
  19. ↑ This is about Louis Kahan (1905–2002), who was primarily active as a fashion draftsman.
  20. ↑ On the title page is only indicated: “Cocteau, Großmann, Pascin, Picasso, Renoir, Touchagues, Wilczynski u. a. "
  21. ↑ a b The subject index listed in the table of contents at the front of the book, which should begin on page 204, is missing in the first edition and was only added to the second edition.
  22. ↑ On the title page several illustrators were named and the addition “u. a. ”it is suggested that several other draftsmen had contributed to the design of the volume. In fact, in addition to the signed drawings, there are only those by Martin Piper that have only been given the somewhat alienated abbreviation “MP” , so that the authorship is not immediately recognizable from the volume itself. However, his drawings in Volume XIV, The Book of the Riviera , are given his name in addition to the identical abbreviation "MP" , which means that the drawings in the Rome volume can also be assigned to him without any doubt.
  23. ↑ Compare the English Wikipedia to: Robert M. McBride .
  24. ^ Catalog entries at the German National Library
  25. ↑ Review in the FAZ of November 15, 2002 ( digitized version), paperback: ISBN 3-499-23381-9 .
  26. ↑ On this, see the Dutch Wikipedia Strengholt Holding