Category Archives: Vintage Paperbacks
The market for English language publishing in Continental Europe existed well before Tauchnitz came along in 1842. It was dominated by two large French publishers, Galignani and Baudry, both of which published the latest English novels without any authorisation or any payment to the author. But there was also a German publisher, Frederick Fleischer of Leipzig with an interest in the market.
Fleischer’s niche seems to have been publishing series of books by particular authors, starting with Edward Lytton Bulwer (later Bulwer-Lytton) in 1834. Bulwer was only 31 at the time, perhaps a bit young for a ‘Complete Works’, but he was at the height of his popularity with already several novels to his name. Fleischer launched the series with ‘Pelham’ (later to be the first novel in the Tauchnitz series as well) and followed up with another five volumes of the series in that first year.
By the end of 1935 Fleischer had more or less caught up with Bulwer Lytton’s published output to date and celebrated with his portrait and signature as a frontispiece to volume 10. This might well have reinforced the impression that the series had his authorisation, which it certainly didn’t.
The publisher would now have to wait for new works – not for long as Bulwer was a prolific writer, but in the meantime it was time to launch a new author. Fleischer now settled on Frederick Marryat, another popular and prolific novelist and particularly a writer of sea stories. He too was given the honour of a ‘complete works’ series, although not the honour of any payment.
Eight novels by Marryat were published in 1836 and three more in 1837 and 1838, taking the series to eleven volumes, while the Bulwer Lytton series gradually extended to 15 volumes over the same period.
But by 1838 there was a new literary star on the horizon. The Pickwick Papers, serialised in the UK in 1836/7 and published in book form at the end of 1837, had been a huge success. Charles Dickens was now the author everyone wanted to read and Fleischer was not going to disappoint them. The Pickwick Papers appeared as the first two volumes of a new Complete Works of Charles Dickens in early 1839.
The suggestion of a ‘Complete Works’ of Dickens in 1839 was even more odd than it had been for Bulwer five years earlier. Dickens was barely 27 years old and had just two or three published works to his name. ‘Sketches by Boz’ had appeared in 1836 and ‘Oliver Twist’ appeared in book form in April 1839.
But Fleischer was far from alone in seeing the potential of Dickens. Both Baudry and Galignani had already published pirate editions of Pickwick in English in 1838 (with Galignani probably the first). J.J. Weber had also published a German translations in parts in 1837/8 and 1839 saw a second translation from Vieweg & Sohn of Braunschweig.
Fleischer followed up with ‘Oliver Twist’ as volume 3, ‘Nicholas Nickleby’ as volumes 4 and 5 and ‘Sketches’ as volume 6, so that by the end of 1940 he was up to date with Dickens’ works. Three volumes of ‘Master Humphrey’s Clock’ followed in 1841/2, taking Dickens to 9 volumes, while Bulwer gradually increased to 20 volumes and Marryat to 14.
Then in 1942 the rival Tauchnitz series launched, also in Leipzig, and it was very quickly all over for Fleischer. Even before Tauchnitz in mid-1843 landed the hammer blow of obtaining authorisation from the authors in return for payment, Fleischer had more or less given up. The final volume, ‘The last of the barons’ by Bulwer, appeared in 1843 and Fleischer, one of the last of the pirates, hauled down his Jolly Roger and went back to publishing books in German.
Where I left the story in my last post (US Penguins 1942 – 1945), Ian Ballantine had left the business to help found Bantam Books. For a period, Allen Lane sent Eunice Frost out to New York to work with Kurt Enoch, probably not just to help him out, but to keep an eye on him.
That was only ever a temporary measure – Eunice Frost was too valuable back at Head Office – but Lane had his eye on a longer term solution. He had made contact with Victor Weybright, an American with publishing experience who had been working at the American Embassy in London during the war.
Allen Lane needed someone to act as a balance to Kurt Enoch, whom he no longer fully trusted. Enoch had taken the business a long way away from the founding principles of Penguin, competing head-to-head with Pocket Books, Dell Books and others on their terms, rather than trying to change the market. US Penguins had adopted illustrated covers on US style glossy card and the standard size of other local competitors. And the quality of the list was arguably not consistent with Penguin’s UK positioning either.
But Enoch had a personal stake in the capital of the US business and as he had organised the capital raising, some of the rest was held by his friends and associates. So both Allen Lane and Victor Weybright had to tread carefully at first.
Lane’s policy seems to have been one of constructive ambiguity – sending Weybright out more or less to negotiate his own way into the business. When he arrived, Enoch claimed not to have heard of him and was unwilling to meet him. After a two hour wait outside a closed door, there followed a week of talks mostly conducted through lawyers. The story is told from Weybright’s point of view in his autobiography, although this is highly self-serving and may not be entirely reliable.
But in the end an agreement was reached, which Weybright characterised as ‘absolute parity’ for the two men in terms of status within the organisation. Enoch would concentrate on production and distribution and Weybright on the publishing programme and public relations, an area where he considered Enoch’s abilities extremely limited. Perhaps surprisingly after such a difficult start, they formed an effective partnership that not only stayed together for many years, but was highly successful in a very competitive market. Enoch initially saw Weybright simply as a stooge for Allen Lane, but it was not long before the two of them were united in negotiating a break from Lane and from Penguin Books.
It’s hard to know exactly when Weybright’s influence began to be seen in terms of the series itself. He arrived in August 1945, but probably had little effect on the books published in the following few months. They included notably ‘Trouble in July’ by Erskine Caldwell, an author not approved of by Lane, but who became enormously important for the business over the following years.
Weybright almost certainly though was influential in the major changes that took place from January 1946 and included a significant redesign in the look and feel of the books, as well as the launch of a non-fiction Pelican list. Both were important developments that had long-lasting effects, but I’ll leave discussion of the US Pelican list for another day.
In some ways the re-design was just another step in the gradual transition that had been going on for three to four years already, away from the UK Penguin style and towards fully illustrated covers. It introduced full colour printing and illustrations stretching right across the front cover, and perhaps even more symbolically, it abandoned the colour-coding that had been such a key part of the Penguin brand, in favour of a bizarre system of different shaped symbols to indicate genre. The changes could be seen as the final break with the sober traditions of Penguin in the UK.
But in another way the business was actually moving back towards some of the key Penguin attributes in the UK. In particular the size of the books changed back to the standard UK size, distinguishing them from most other US paperbacks. And although not immediately apparent (perhaps not even to Allen Lane), the nature of the list was changing to one that was maybe more in line with Penguin principles.
A more literary list?
From a list that throughout most of 1944 and 1945 had been dominated by crime novels and relatively light fiction, there were now indications of more serious literature. D.H. Lawrence and E.M. Forster appeared in the January 1946 list, Virginia Woolf, Jack London, Sherwood Anderson and John Steinbeck over the next few months, and then in July, three plays by Bernard Shaw were issued to mark Shaw’s 90th birthday. Weybright was diplomatically taking some of the best of Penguin’s output from the UK and mixing it with more specifically American titles.
There were still plenty of lighter novels, and several that were too racy for Allen Lane’s taste. Weybright records that Lane seemed annoyed by the fact that Erskine Caldwell’s ‘God’s Little Acre’ was a runaway success, supporting the business through a difficult time. But the proportion of crime stories certainly went down and there does seem to have been a serious attempt to position the series as rather more up-market and literary. Indeed I’d suggest that the 80 or so books published in 1946 and 1947 stand comparison with almost any run of 80 books appearing in the UK Penguin main series.
In September 1946 Lady Chatterley’s Lover appeared as volume 610 and it was followed in November by E.V. Rieu’s new translation of ‘The Odyssey’ published by Penguin in the UK. Early 1947 saw Henry James and Joseph Conrad added to the list followed by William Faulkner’s ‘Sanctuary’. Lane disapproved of Faulkner, but when he was awarded the Nobel Prize for Literature in 1949, Weybright must have felt vindicated, as indeed when Lane later fought a court battle to publish Lady Chatterley in the UK.
Of course part of Allen Lane’s disapproval stemmed from the illustrated covers rather than the actual contents of the books. The covers were undoubtedly becoming more colourful and striking (regarded by Weybright as a necessity to compete in the US market), but Lane’s generalised slur on illustrated covers as nothing but ‘bosoms and bottoms’ would not have been a fair description of them, at least in 1946/1947.
Most of the covers were designed by Robert Jonas, often featuring stylised images evoking the spirit of the books rather than specific scenes from them. The Jonas covers are often described as having a distinctive style, but in fact several of the covers by other artists seem to me to be consistent with them, so it may be more of a house style influenced by Jonas rather than just the style of one artist.
Cover designs not by Robert Jonas
When Allen Lane visited New York in April 1947 it became clear that a split with the UK business was inevitable. The terms were negotiated in October of that year and by February 1948 the changes were under way. Penguins were to be re-branded as Signet Books, while Pelicans became Mentor Books – the overall business becoming the New American Library. For a period in early 1948 books were branded as ‘Penguin Signet’ but from August 1948 references to Penguin were dropped and the business was on its own.
Freed of UK constraints, the cover art took another turn. Robert Jonas was for a time Art Director, but from about November 1947 his stylised designs started to give way to a more brash style of which Allen Lane would certainly not have approved. Penguins had come a long way in a relatively short time.
Penguin’s attempt to woo the American market had started in 1939 with the establishment of an office in New York under the twenty-three year old Ian Ballantine, importing Penguins from the UK. It was not a great time though to be shipping books across the Atlantic and by 1941 it was clear that the operation had no future unless books could be produced locally.
A small number of UK books were reprinted in the US, but to extend the operation and move into local publishing, Allen Lane would need a more experienced publisher. He was perhaps lucky to find Kurt Enoch, one of the founders of Albatross Books, and a Jew who had been forced by the Nazis to leave Germany and then subsequently had had to flee for a second time from Paris, after it fell to the German army ( for the full story, see ‘A strange bird’ by Michele Troy).
Enoch had recently arrived in the US, was looking for work, and suggested to Lane that he could raise the capital to launch a local publishing programme. Lane took him on as Vice President responsible for production and design, with Ballantine in charge of distribution / sales. That leaves it a little unclear who was responsible for the core function of choosing and commissioning new titles. Enoch was the one with experience in this area at the time, so presumably took the lead, although Ballantine later went on to become a hugely successful publisher in his own right.
Albatross Books had been in many ways the model for Penguin, so Allen Lane might reasonably have expected to find in Kurt Enoch somebody who shared his ideals and vision for the business. But from the start Enoch seems to have had doubts about key parts of the Penguin brand that had been so successful in the UK.
The parents of American Penguins – rather different from the child
Penguin’s UK launch had been almost an overnight success and had transformed the UK paperback market, with almost all competitors adopting the main elements of the Penguin ‘package’ – size, price, colour coding, dustwrappers and so on, but above all, no cover illustration. The first tentative steps in the US market had not triggered any similar revolution and Enoch seems to have been sceptical that it ever could. Almost from day one, he seems to have had his eye on illustrated covers.
For Allen Lane and others back in Harmondsworth though, this was an article of faith. Before Penguin’s UK launch, there had been plenty of people saying that non-illustrated covers could never work in the UK market and they had proved them all wrong. Now they saw the brightly striped and immediately recognisable covers of Penguin Books as their main weapon in conquering new markets. The scene was set for a struggle that could have profound consequences for Penguin’s future.
In early 1942 the new US Penguin series launched, with numbers starting from 501. The first two books, numbers 501 and 502, appeared with the iconic striped covers. First blood to the Brits. But by volume 503 the design had changed significantly to one that allowed space on the front for a brief written description of the book, and on the back for advertising or for information about the author. Enoch must have been planning this for some time, perhaps waiting for approval from Head Office.
While Lane may not have been happy with any move away from the classic design, this change looks as though it may have been deliberately designed to get approval. It retains enough elements of Penguin identity to still look Penguin-ish and it’s still a very restrained design that doesn’t introduce any illustration to the front cover. It also retains the principle of colour coding used in the UK. Crime is still green, although perhaps strangely, the classic Penguin orange for novels is replaced by red, and yellow is more widely used for a range of books including non-fiction and westerns.
But this was by no means the limit of Enoch’s ambitions. He wanted cover illustration, and as it happened he had the right opportunity to get a foot into the door. A short series of classic texts illustrated by woodcuts had appeared in the UK in 1938 as Penguin Illustrated Classics. They had used illustration on the covers and had included ‘Walden’ by Thoreau, an American classic that would fit well into the new US Penguin series. How could the UK Head Office possibly object to a cover illustration that they had themselves used? The book appeared as volume 508 and was the first American Penguin to feature cover art.
Once the principle had been breached, Enoch was not going to let go. He had shown how a simple illustration could (not coincidentally?) fit well into the cover design he had introduced and others would follow. The first was ‘Tombstone’ by Walter Noble Burns, volume 514 published in October 1942, and from then on illustrated covers were the norm. It may have grated even more in the UK that the process started with a western – at this stage considered too down market for Penguin in the UK, although later on in the series, a few did appear.
The first illustrations were quite small, but it was not long before they were taking up the entire panel. And in the meantime, Enoch was attacking another of Penguin’s key brand attributes – the size of the books. Penguins had always been roughly 11 cm by 18 cm, a format based on the golden ratio and again copied from Albatross. But paperbacks in the US and particularly those from the main competitor, Pocket Books, were shorter and squatter. So Penguin moved in line with them.
This was in November 1943, barely 18 months after the launch and already Penguins had little in common with their UK parents and looked more like the local competitors. Even the glossy card covers and the red page edges looked more American than British. Any idea of changing the market had been abandoned. It was the Penguins that were having to change.
From late 1943 onwards, the rate of new titles started to increase and the cover illustrations became more and more dominant, with the single colour of the covers increasingly used within the picture as well. From volume 566 in October 1945, a second colour is used on the cover before moving on to full colour shortly afterwards.
This was though another turbulent period for the business. Some time around the end of 1944 or the beginning of 1945, Ian Ballantine resigned to work on the launch of a competitor, Bantam Books. He had learned what he could from Enoch and was ready to take the next step in his publishing career. Allen Lane however was not prepared to leave Kurt Enoch in sole charge of Penguin’s US business. Eunice Frost, originally Allen Lane’s secretary and still in her twenties, but in practice one of his closest aides in London, was sent out to New York to hold the fort, while Lane attempted to make more permanent arrangements.
That eventually led to the appointment of Victor Weybright to work with Enoch, and to a whole series of other developments. I’ll come back to them in another post and also look separately at the US Penguin Specials, an important series in their own right, which had been published alongside the main series throughout the period I’ve been talking about.
By the time P.G. Wodehouse first appeared in a Tauchnitz Edition in 1924, he was already a well-established and successful writer with around 20 novels to his name. For an author who went on to have around 40 books published by Tauchnitz, this was a surprisingly late start. But Wodehouse had started to come to prominence just as the First World War effectively took the German firm out of the market for new English language books, and the effects of the war lingered on for several years afterwards.
It was at least 1923 before Tauchnitz could get back to anything like a normal publishing programme and it never really recovered its former dominance of the market. The ability to spot promising new writers and publish their latest works almost simultaneously with the first UK editions, had been a defining feature of the business for much of the nineteenth century, but by the mid-1920s it was a fading memory. And Tauchnitz was entering a period that would prove to be one of the most turbulent of its existence. So we should perhaps be grateful that they were able to publish Wodehouse at all.
As usual with a new writer, Tauchnitz were keen to start with Wodehouse’s latest new work, rather than going back to earlier works. So the first in the series was a volume of short stories, ‘Ukridge’, published in the UK in June 1924, and then two months later in Tauchnitz as volume 4651, dated August 1924 at the top of the back wrapper on the first printing.
As always with Tauchnitz paperbacks, it’s the date on the back wrapper that’s important for dating, rather than the date on the title page, which remains fixed at the first printing year, even on reprints many years later. First printing paperbacks from this period also have a distinctive two column format for the latest volumes, which was not used on reprints.
For Tauchnitz Editions from the 1920s and 1930s far more copies do survive in paperback than is the case for 19th century novels and they’re much easier to date than bound copies, so I’ve focused on these.
Wodehouse’s next new novel was ‘Bill the Conqueror’, published in the UK in November 1924 and again following rapidly in Tauchnitz as volume 4669, dated January 1925 in the first printing (and listing only ‘Ukridge’ on the back of the half-title). Another volume of short stories, ‘Carry on, Jeeves’, appeared in the UK in October 1925 and the novel ‘Sam the sudden’ came out in the same month. Both were taken up by Tauchnitz – ‘Carry on, Jeeves!’ as volume 4710, dated November 1925 and ‘Sam the sudden’ as volume 4714, dated January 1926.
The pattern seemed to be set, with Tauchnitz taking each new work of Wodehouse’s as quickly as possible after UK printing. But prolific as Wodehouse was, new works were not coming fast enough to satisfy the appetite of continental readers, and there was still a temptingly long list of older works that could be issued. So along with the next volume of short stories, ‘The heart of a goof’ (volume 4641, dated July 1926), Tauchnitz also published a much earlier work ‘ Love among the chickens’ (volume 4640, July 1926), that Wodehouse had first written in 1906 and then rewritten in 1921.
Two other older works, ‘Psmith, journalist’ (vol. 4776, April 1927) and ‘Leave it to Psmith’ (vol. 4777, April 1927) followed in 1927 and from then on two or three new volumes were added almost every year, in a mix of completely new works and older works, both novels and short story collections. By mid 1929, when Curt Otto, the Managing Director, died, fourteen volumes of P.G. Wodehouse had been issued by Tauchnitz.
The incoming General Manager, Christian Wegner, set about making some significant changes, starting with a modernisation of the cover design for the series. After keeping essentially the same cover design for the first 70 years of its existence, a first real change had come in 1914, and now it was entering on a period of continual change. The new design appeared on a Wodehouse novel for the first time, with publication of ‘Mr. Mulliner speaking (vol. 4963, November 1930), followed quickly by ‘Very good, Jeeves!’ (vol. 4983, March 1931) and ‘Summer lightning’ (vol. 4995, June 1931).
Fourteen books appeared in the revised design taking the total to 28 and then from 1935, there was another change. Wegner had left under a cloud, but by mid 1934 he was effectively back as one of the managers of Albatross Books, which took over editorial control of Tauchnitz. The two lists for Albatross and Tauchnitz were managed together, but with Wodehouse remaining very much a Tauchnitz writer, with no entry to the (arguably more prestigious) Albatross list.
Another new cover design was launched in mid 1935, this time colour-coded to indicate genre. All Wodehouse volumes were coded orange, the colour for ‘tales and short stories, humorous and satirical works’. Shortly afterwards the size of the books changed to match the size of the Albatross volumes and dustwrappers in the same design as the covers were introduced, again in line with Albatross.
A further new design was introduced in 1938 that used colour more strikingly, but by this time war was approaching fast, and with it the end of the Tauchnitz series.
‘The code of the Woosters’, issued in June 1939 as volume 5357, was the last Wodehouse title to appear in the series before the outbreak of the Second World War, but it was not to be the last title of all. Wodehouse had been living in Le Touquet in France and was interned by the Germans after the invasion of France. He wrote ‘Money in the Bank’ on a typewriter provided by the Germans while in internment and the text was made available to Tauchnitz. It appeared in August 1943 as the very last volume in the Tauchnitz series, volume 5370, bringing the total number of Wodehouse works published in the series up to thirty-nine. It was the only new writing in English to be published in the Tauchnitz series after 1939.
Along with the infamous broadcasts on German radio, this was another example of Wodehouse being perhaps too willingly duped by the enemy. Certainly for them it was a publicity coup, and the book seems to have been printed in substantial numbers, although it’s hard to imagine much market in Germany in 1943 for Wodehouse’s brand of comedy.
The story should really end here. Shortly after publication of ‘Money in the bank’, the Tauchnitz premises were destroyed in an Allied bombing raid and after 100 years and 5370 volumes, the Tauchnitz Collection of British (and American) Authors came to an end.
But in fact it’s not the end of the story. After the war there were various attempts to revive Tauchnitz. A series of books reprinted from Hamburg, included ‘Money in the Bank’ as volume 16 in 1949. Then a short series of mostly new works published from Stuttgart, included two Wodehouse volumes -‘The mating season’ (volume 107 in 1952) and ‘Ring for Jeeves’ (volume 137 in 1954).
Neither of these post-war ventures was much of a success, and although no new volumes were published after 1955, unsold stock hung around for many years. In an attempt to shift it, more modern covers were added in the early 1960s and ‘Ring for Jeeves’ was certainly one of the books to appear in this style, at least the eighth style of wrapper to be applied to Wodehouse volumes by Tauchnitz.
There were a large number of fiction magazines in Victorian Britain, publishing short stories and /or serialised versions of full novels. Dickens had been one of the pioneers of the format, editing ‘Household Words’ and ‘All the year round’ for many years. By the 1890s, there were many more magazines and a small industry of authors providing appropriate material for them.
So, it was probably natural that Tauchnitz, the dominant publisher of English language books on the continent, should be interested in the idea of publishing a continental equivalent. The Tauchnitz Magazine was launched in August 1891 as a monthly magazine of 80 pages, usually with between five and seven short stories, followed by some publishing industry gossip and a review of the latest volumes of the Tauchnitz Edition.
Each issue was sold in light blue wrappers, highly decorated, with a heraldic crest at the top combining the arms of both Britain and the United States with those of Tauchnitz himself. The eighty pages of text were preceded by around six pages of adverts and there was also advertising on the back and on the inside of the covers, often but not always for other Tauchnitz publications.
According to an introduction in the first issue, the magazine aimed ‘to satisfy a want long felt by all readers of English and American literature on the Continent, and especially by English and American tourists’. The price is at first shown as 50 pfennigs or 65 centimes, but on later issues only as 50 pfennigs, suggesting that sales may have been limited principally to Germany. This is also suggested by the German language being used in some of the advertising in later issues for Tauchnitz Dictionaries and the Students’ Edition.
The first few issues were edited in the UK under the control of James Payn, editor of the Cornhill magazine and a regular Tauchnitz author. From issue number 6 onwards they were edited in Leipzig, but followed the same format, with many of the stories appearing also in one or other of the UK fiction magazines, such as the Strand magazine, the Idler or Longman’s magazine. It’s possible that in other cases the Tauchnitz magazine may have been the first or only publication for a story, but I’m not aware of any comprehensive research into this.
Generally the stories were by much the same authors as appeared in the main Tauchnitz series, among them Arthur Conan Doyle, Rudyard Kipling and Jerome K. Jerome. But there were less familiar names too such as George Burgin, Francis Gribble and George Lionel Stevens.
The magazine survived for only two years from August 1891 to July 1893. Circulation is likely to have been low, possibly only a thousand copies or so, and few have survived. Copies in the original wrappers are now rare (do contact me if you have any), but some copies were bound, usually in volumes containing six issues. In most cases the bound volumes do not contain either the original wrappers or the advertising pages, but of course they’re much more likely to survive than unbound magazines.
There is a long history of English language books published in Continental Europe that goes back way before the launch of the Tauchnitz series in 1841. One of the most significant series in the period just before Tauchnitz, and one that almost certainly influenced the young Bernhard Tauchnitz, was Baudry’s Collection of Ancient and Modern British Novels, published in Paris from 1831.
Louis-Claude Baudry (or sometimes Claude-Louis Baudry) seems to have been established as a bookseller in Paris from around 1815 and perhaps a little later as a publisher. Early on he decided to specialise in foreign language publications. A printing in English of ‘The letters of Junius’, published by Baudry & Lance in Paris in 1819, refers to their business as the ‘English, Italian, Spanish, German and Portuguese Library’. References to Lance soon disappear and the description of the business changes over the years, sometimes referred to as ‘Baudry’s Foreign Library’, but it eventually settles on ‘Baudry’s European Library’.
A New Year catalogue for 1829 makes clear the specialisation of the business in foreign language books and refers to the availability of “more than 40,000 volumes of the best works in English, Italian, German, Spanish and Portuguese, ancient and modern, new and second-hand”.
It’s unclear how many of these books would have been actually published by Baudry, rather than just sold by the bookshop. But shortly after this, the firm launched numbered series of books in several European languages, including in English, ‘Baudry’s Collection of Ancient and Modern British Novels and Romances’. The reference to ‘Romances’ was later dropped, but seems in particular to have been applied to the novels of Walter Scott, which featured heavily in the early titles, accounting for rather more than half of the first 50 volumes, including the first volume, ‘Waverley’.
Scott was still alive when the series started, but died in 1832 and would have received no payment at all for the use of his work. There were no international copyright agreements at this time, and publication of foreign titles with no payment to the author was standard practice. It seems ironic that one of the Scott novels published by Baudry was ‘The Pirate’ (volume 22 of the series), given that Baudry was a pirate publisher on a grand scale.
After the initial concentration on Walter Scott, the series settled down to cover a wide variety of authors, with Fenimore Cooper, Bulwer Lytton, G.P.R. James and Captain Marryat prominent among them. Like Tauchnitz after him, Baudry seemed to draw no distinction between British and American authors. Although the series title referred to British novels, it included numerous volumes by Fenimore Cooper and Washington Irving, as well as other Americans such as Alexander Mackenzie and George Bancroft and a Nova Scotian in Thomas Haliburton.
Like Tauchnitz, and like most continental publishers of the time, Baudry published their books as paperbacks. But many were then taken to the bookbinder, and as these are generally the copies that survive best, in practice most of the copies found nowadays are hard bound.
Also like Tauchnitz, it’s difficult to distinguish first printings. As far as I can tell, most copies are correctly dated, in the sense that the date on the title page is the actual printing date of that copy. However with no indication of previous printings, it’s not easy to tell whether earlier printings exist or not. I’ve been unable to find a full bibliography of the main series, but I do have a rough list of numbers and dates that I’d be happy to share with anyone who’s interested.
There seem to have been around 450 numbered volumes in the series published between 1831 and 1850, of which about 350 appeared in the decade before the arrival of Tauchnitz to the market. After that the rate of publication of new volumes slows down noticeably, presumably because of the increased competition.
Baudry had sold its books partly on price, claiming to be far cheaper than the same books sold in Britain. The standard price per volume was 5 Francs, equivalent to around 4 shillings in UK Sterling at the time, for books that might have sold for 12s 6d or more in Britain in hardback. But Tauchnitz volumes, considerably smaller in terms of the amount of paper used, sold for more like the equivalent of 1s 6d and would have undercut Baudry.
In the end though the business was killed off, not directly by Tauchnitz, but by legislation. An Anglo-French Copyright treaty was signed in 1851, making it impossible to continue to publish English novels without authorisation. And as Tauchnitz had obtained exclusive authorisation from almost all the leading English novelists, Baudry had little room for manoeuvre. An International Copyright Act followed in 1852. The series of English language novels came to an end, although Baudry’s European Library continued, publishing mostly books on learning foreign languages, particularly English.
The English language series is the only one that I’ve looked into, but there were parallel series in several other languages, certainly Italian and Spanish, running at much the same time.
In a recent post on Pelican Books, Penguin’s non-fiction imprint, I looked at the left-wing bias in the early days after their 1937 launch – clear, but undeclared. But there’s another aspect that deserves looking at, which is their part in moving Penguin from being a pure paperback reprint publisher, towards having a stronger role in commissioning new works.
Before Penguin, paperbacks in the UK were almost always reprints. It’s a model that is still extensively used today. Books are published first as expensive hardbacks, and only after sales at the higher and more profitable price have been maximised, does the paperback follow. Publishers have always been frightened that paperback sales would undermine sales of the more expensive hardbacks.
When Penguin launched in 1935 their list was not only all reprints, but really quite old reprints. Their first ten books were published on average 12 years after first publication. That increased to 17 years for the second ten and almost 20 for the third ten. It was not easy to persuade publishers to release the paperback rights for more recent novels.
These two early Penguins had been first published in the 19th century
So when Pelican launched two years later, it was natural that they should scour the market for reprint rights on non-fiction titles that had been best-sellers 10 years or so earlier. And for the first few years, that was indeed largely what they published, subject to that bias towards left-wing authors and left-wing content.
To launch the series though, they wanted something a bit different and they succeeded in persuading George Bernard Shaw, not only to allow a reprint of his ‘The intelligent woman’s guide to Socialism and Capitalism’ (published 9 years earlier), but to extend it by writing two new chapters on Sovietism and Fascism. As far as I know, these two chapters were the first new writing, not already published elsewhere, that Penguin had ever issued.
The book sold well, although judging by the number of copies surviving in pristine condition, many copies may have remained unread. That’s perhaps just as well, as Shaw was barely a democrat and certainly no strong opponent of either fascism or sovietism. He was attracted by, and effectively duped by, what he saw as strong leaders such as Mussolini and Stalin, and saw much to admire in Hitler. The arguments in his new chapters would not have stiffened many spines in pre-war Britain.
The book may though have given Penguin a taste for the publication of more new works. One of the other early Pelicans, ‘Practical Economics’ by G.D.H. Cole (volume A6) was also a new work specially written for the series. Indeed as this was an entirely new book and the first nine Pelican volumes were issued simultaneously in May 1937, this one rather than Shaw’s, should arguably be considered the first new work to be published by Penguin.
Others followed, although only sporadically at first in the Pelican list. The focus for new writing moved decisively away from Pelican with the launch of the Penguin Specials in late 1937. The first book in this series was a reprint, but the vast majority of the volumes, coming thick and fast after that, were new works written specially for the series – books written and published in almost record time as they reacted to fast-moving international events. In some ways the Penguin Specials were closer to journalism than to traditional book publishing.
By mid-1940 the Penguin Specials had published around 40 completely new works. In comparison there were only about 10 new works in the Pelican list by this point. The academics and intellectuals who wrote for Pelican were certainly not used to writing at the speed of journalists. Nevertheless the combined effect of the two series and others like the King Penguins, was that astonishingly, by 1941 Penguin was publishing more original works than reprints. There’s a fascinating graph in one issue of Penguin’s Progress that shows how from a standing start in 1937, new works climbed rapidly to around 60 a year, while reprints fell from up to 90 a year, down to more like 50.
That’s an amazing change in a few short years and one that goes against most people’s preconceptions. It led to the surprising position where Penguin was selling hardback rights to other publishers for books that had been first published as paperbacks. And where Penguin also ended up publishing quite significant numbers of hardbacks itself. But that’s another story.
I’m still on a bit of a personal mission to show that Penguin revolutionised, but did not invent, the sixpenny paperback. The success of Penguin was so overwhelming that in retrospect it has obscured what went before and rather created the impression that Penguins appeared out of nowhere. In practice Penguins evolved from a long history of sixpenny paperbacks going back to Victorian times. I’ve already written about the Chatto & Windus series that ran from 1893 to the 1920s and about the Hutchinson series that ran roughly from 1925 to 1935. There are still many more to cover and this post now looks at pre-Penguin sixpenny paperbacks from Collins.
Collins are an interesting example, because for a long time after Penguin’s launch they were perhaps their closest competitor, with the Collins White Circle series. To see the effect that Penguin had, it’s interesting to compare Collins paperbacks from just before and just after that 1935 watershed.
The immediate changes caused by Penguin’s launch are not hard to see. Almost overnight, paperbacks became smaller, lost their cover illustration (other than a stylised design), gained a dustwrapper and generally became a bit more sober, respectable and middle class. As I’ve pointed out before, almost all of these changes were an aberration in historical terms and the earlier ones look rather more like modern paperbacks than the later ones do.
Collins had experimented with paperbacks over many years in various different formats and prices. They published a traditional series of large format 6d paperbacks in the early years of the twentieth century and then after the First World War tried out books in a smaller but chunkier format at ninepence.
Collins 6d from around 1905 and a 9d paperback possibly from the 1920s
But then towards the end of the 1920s they launched a more modern looking sixpenny series. The design clearly owes something to the Hutchinson series of Famous Copyright Novels. Where the Hutchinson covers were predominantly red, Collins were predominantly green (and incidentally, Hodder & Stoughton’s were yellow). Where Hutchinson had the title in yellow and the author’s name in white, Collins often had the title in red and the author’s name in yellow, although sometimes the colours switched round. Significantly in the light of what was to follow, both series moved away from fully pictorial covers to a more restrained design where the picture takes up only part of the cover.
Collins on the left, Hutchinson on the right
My guess is that this Collins series started around 1928. That’s largely based on the fact that several of the early books were first published in hardback around 1924/5, and one seems to be from 1927. Others went back much further, including books by Walter Scott, Charles Dickens and George Eliot. Most of the books were romances, adventure stories, crime stories or westerns.
Collins was starting to build a speciality in the fashionable field of crime fiction and this was cemented by the launch of the Collins Crime Club in 1930. It helped of course that they were the publisher for Agatha Christie, whose books were setting the standard for crime writing. The Crime Club was followed by the Wild West Club and as the 6d series went on, it was increasingly dominated by these two genres.
As with most pre-Penguin paperbacks, little is recorded of the Collins series, and I don’t know of any collectors, although I would have thought it was fairly collectable. It almost certainly includes the first paperback printings of many Agatha Christie stories as well as those of many other crime writers. I have a partial listing , drawn from the covers of the few copies I have, or have seen, which I’d be happy to share, and I’d like to hear of any other lists.
A few of the books seem to have switched away from the standard green covers to other colours, most strikingly a copy I have seen of Agatha Christie’s ‘Partners in Crime’ in red covers and a western from Hugh Pendexter in orange. As far as I can tell though these were exceptions and the vast majority of books were in green.
Unfortunately the books are undated and I can’t be sure for how long they continued. But I think the series went on right up to the launch of Penguin in July 1935. Suddenly then it looked old-fashioned and down-market in comparison to Penguin’s stylish but unillustrated covers. The inclusion of an Agatha Christie novel, ‘The mysterious affair at Styles’, in Penguin’s first ten was also an arrow aimed directly at the heart of Collins. This was Christie’s first novel and was (thought to be) available to Penguin because it had been published by the Bodley Head, before her move to Collins. Problems with the copyright led to it later being withdrawn and replaced by an alternative Christie title, but that didn’t help Collins.
By March 1936, the new Collins series was ready for launch. The first books in Penguin format were branded only as Crime Club books, but before long the overall ‘White Circle Books’ brand started to be used and it continued to be a significant challenger to Penguin, particularly on Crime and Mystery books, for the next 20 years.
By the 1950s though, Collins were starting to bridle at the self-imposed restrictions on the use of cover art, as indeed Penguin were. They started to experiment with going back to illustrated covers and a few books were issued that look remarkably like the 1930s predecessors to Penguin (although no longer at sixpence). Going back to the past was not the answer though. Cover art would of course return, but in a more modern form.
It’s time to take another look at one of the many sixpenny paperback series that flourished before Penguin came along in 1935 to revolutionise the market – by selling paperbacks at sixpence. I come back to this popular misunderstanding of what Penguin’s paperback revolution was all about, because it certainly wasn’t about price.
The last sixpenny series I wrote about was the Hutchinson series of Famous Copyright Novels that ran from around 1925 to 1935. But the concept goes back much further than that. Chatto & Windus were selling sixpenny paperbacks from at least 1893 and the firm itself published a celebration of them in 1985 in a colourful book through their Hogarth Press imprint, called ‘Sixpenny Wonderfuls’. Thanks to a reader of the blog for bringing this to my attention. The title is intended as a reference and a contrast to the ‘penny dreadfuls’ that sold in vast numbers throughout the Victorian era, and reinforces the point that even sixpence was not a particularly cheap price for a paperback in those days. These books were by no means at the bottom of the market.
Perhaps inevitably ‘Sixpenny Wonderfuls’ focuses more on the colourful and dramatic covers than on the contents of the books, and that in a way is the point here. These books sold because of their cover illustrations – forty years later Penguins sold because of their lack of cover illustrations.
I don’t know of any complete list of the Chatto and Windus Sixpennies and I don’t have any collection of them, so the illustrations here come from the Chatto book. It sounds though as if the firm itself may have some quite detailed records, covering not only titles but printing numbers. They note that one of the first titles, ‘The cloister and the hearth’ by Charles Reade, had an initial print run of 50,000 in 1893 and went on to sell 380,000 copies in its sixpenny edition over the next 15 years. And that was a book that was already over 30 years old at the start of the series. You’ll be lucky to find a single copy of it today though. The internet is awash with hardback copies, but those hundreds of thousands of paperbacks have disappeared almost without trace.
There is probably even less chance though of finding a copy of ‘Antonina’ by Wilkie Collins, also published in 1893 in the series, but selling only 1,240 copies according to Chatto’s records. Clearly it was a hit-and-miss business.
Nevertheless the series seems to have prospered and I would guess it covered perhaps a couple of hundred titles over its 30 year history. It survived the First World War, although with few new titles being added, and in the post-war years it found it difficult to generate the levels of sales achieved pre-war. It’s unclear exactly when the series ended. Copies may have continued to be sold even into the early 1930s, but in terms of new titles it probably ended in the early 1920s.
The idea of sixpenny paperbacks certainly didn’t end then. New series from Hutchinson and from Collins were only getting going at that point, and Penguins were not even a gleam in Allen Lane’s eye, but the fashion for Chatto and Windus’ stories and their dramatic cover illustrations had come to an end.
The series was dominated by adventure stories and relatively light romances. Books by Ouida and B.M. Croker sold well, as did those by Walter Besant and Charles Reade. Their names may not be widely recognised today, but many of the other authors would be. The series contained books by Wilkie Collins, Thomas Hardy, Arthur Conan Doyle, Mark Twain, Robert Louis Stevenson, Emile Zola and Arnold Bennett. For comparison, it’s worth remembering that despite the reputation for quality, most of the authors and titles of the first couple of hundred Penguins are now justly forgotten. Amongst the few still remembered are Conan Doyle and Bennett.
This is the story of a very unusual Penguin from the other side of the world.
At first sight it’s very clearly a Penguin. The broad bands of colour and the Penguin symbol make it instantly recognisable, even though the bands are red rather than the more familiar orange. The more striped effect at the top, and the text-heavy cover, mark it out as a Penguin Special, one of the series of topical books on current affairs that sold millions in the run-up to, and the early years of, the Second World War.
But after that first impression, other things don’t seem quite right. Firstly it’s the wrong size. Basically all Penguins at that time (this was printed in 1940) were of a standard size – the size that Penguin had adopted from the European series of Albatross Books, and which in turn had been copied by almost all other British paperback publishers. This one is larger, roughly 14 cm by 22 cm. It’s also made up of a single gathering, stapled in the middle, so has a rounded spine, unlike the flatter spine of almost all other Penguins.
Then the cover has been printed in three colours – black, blue and red. Almost all other Penguin covers at the time were printed in two colours, typically orange and black. This one has an extra colour to allow the British and Australian flags to appear, and that also seems to account for why it’s red rather than orange. Interestingly it’s not the current Australian flag. The version then in use was the Australian Red Ensign, which changed to blue only in 1954. It’s also noteworthy that the penguin logo is printed in blue rather than black.
This is an Australian printing of course, but that in itself is not particularly unusual. Over 70 UK Penguins were reprinted in Australia during the war years, given the difficulty in exporting copies from the UK. They were published through a local company, Lothian Publishing Company Pty. Ltd., whose name generally appears on the title page, below that of Penguin Books. But this book has no mention of Lothian, crediting only a local printer in Melbourne.
Lothian’s own list of the Penguin books they published in Australia does though include it and shows it as the very first such book in August 1940, almost two years before any others followed. Why did this particular book justify such an unusual step?
The author, Sir Richard Acland, was a British Liberal Party MP (and a 15th generation baronet), who had been stridently against the policy of appeasement being followed by the UK Governments under Stanley Baldwin and Neville Chamberlain. In 1938 he had engineered a famous by-election in Bridgwater, a Conservative-held constituency neighbouring his own in Barnstaple, and persuaded a journalist, Vernon Bartlett, to stand as an ‘Independent Progressive’ anti-appeasement candidate. Both the Liberal and Labour parties agreed to stand down in favour of Bartlett, leaving him a clear run against a Conservative candidate in the election, which he won by a relatively small majority.
Acland’s book, ‘Unser Kampf’ was written after the outbreak of war and published as a Penguin Special in the UK in February 1940 – volume S54 of the series. It is a plan for a new world order to be established after the war, and almost a manifesto for a new political movement. Acland went on to be one of the main founders of the Common Wealth Party in 1942, with J.B. Priestley and Tom Wintringham amongst others. He stood for the new party in the 1945 election, but it fared badly and he lost his seat, later defecting to Labour and being elected as a Labour MP.
Clearly his book was a significant contribution to the debate at a time of high interest in public affairs. but was it any more than that? It was not one of the Penguin Specials chosen for reprinting in the US (although interestingly one of Tom Wintringham’s books was). Did it then have any special relevance in Australia, more than any of the other Penguin Specials, several of which dealt with similar subjects? I’m not convinced that it did, although the Preface to the Australian Edition suggests that “To enable the demand to be met, it has been found necessary to reprint in Australia”.
It is unclear who wrote this rather evangelical preface. It refers to both the author and the English publishers (Penguin Books) in the third party, and thanks them for agreeing to no royalties or copyright fees. So presumably somebody else wrote it and it reads as if written by a supporter of Acland, rather than by a publisher. I suspect that it was local supporters of Acland, or his ideas, who promoted the idea of reprinting it in Australia, and possibly approached Lothian with the suggestion. Could that in turn have been what sparked later negotiations between Lothian and Penguin about reprinting other titles?
It does seem to have been reasonably successful, with 10,000 copies in the first printing of August 1940, followed by a second printing of a further 10,000 copies in the same month. Enough to interest Lothian in extending the collaboration with Penguin?
There are still other oddities though with this very odd book. The UK edition is titled ‘Unser Kampf’ with ‘Our struggle’ as a sub-title, while the Australian edition reverses this. Were Australians thought to be even more uncomfortable with foreign languages than the British? Or less familiar with the title of Hitler’s ‘Mein Kampf’, which it echoes? It seems just a little condescending.
And despite the changes to the front cover, the back cover just copies the UK back cover other than to add ‘Printed in Australia’. So it has a list of the ‘Latest Specials’, most if not all of which, would not have been available in Australia.
Acknowledgements: Some of the information about Australian printings in this post, comes from an article written by Chris Barling in the Penguin Collector’s Society newsletter for May 1987. For more about the Bridgwater by-election of 1938, see https://vernonbartlett.co.uk/