The launch of Albatross books in 1932 was a key moment in the paperback revolution, even if not fully recognised as such at the time. It signalled the imminent demise of Tauchnitz, which had dominated English language publishing in Continental Europe for almost a century. It was to be the inspiration for the launch of Penguin Books three years later. And it was in some respects the moment that paperbacks came of age in the twentieth century.
A lot of planning and preparation had gone into the launch, which brought together three remarkable men, John Holroyd-Reece, Max Christian Wegner and Kurt Enoch. Their stories are too long and varied to cover here, but all three played important roles in publishing history, even apart from their time at Albatross. It was important for them that the first list of Albatross titles made a statement about the ambitions of the new series.
It was a mixed list, establishing the principle that the series would cover a range of genres and styles. A crime story and a romance rubbed shoulders with more literary fiction. A volume of short stories was published alongside the first volume of an historical family saga. There was something for everyone, and importantly, with colour coding by genre, the mix of types of book was reflected in a mix of colours for the first six books.
The choice of the first three authors – James Joyce, Aldous Huxley and Sinclair Lewis, seemed to say that the series would be more at the cutting edge of modern literature than Tauchnitz had been in recent years. It also said something about the ability of Albatross to attract authors away from Tauchnitz.
James Joyce in particular had been neglected by Tauchnitz. They had eventually published ‘A portrait of the artist as a young man’ in 1930, some ten years after being offered it, but had shown little interest in his other works. So for Albatross, publishing ‘Dubliners’ as volume 1 was an open goal.
Huxley and Lewis had been treated better, with Tauchnitz publishing six volumes of Huxley and three from Lewis, arguably including their most important works. But that was far from comprehensive coverage and as with Joyce, Albatross was able to target earlier works, overlooked by Tauchnitz, before later publishing new works. Sinclair Lewis had in 1930 become the first American author to be awarded the Nobel Prize for Literature, so it was a good time to be revisiting his earlier works.
The next three titles were perhaps a bit lighter, but Rogue Herries by Hugh Walpole was a significant prize. It was the first of the Herries Chronicles, a trilogy of books set in the Lake District, and probably the work for which Walpole is best remembered now. He too had to be attracted away from Tauchnitz, which had published several of his earlier works, as did Warwick Deeping. As Tauchnitz had had a near monopoly on publishing English literature in Europe, it was almost inevitable that the authors Albatross wanted to publish would already have had dealings with Tauchnitz.
The launch of the first six titles was also marked by the issue of a boxed set of the six books. I have little idea how many of these were produced or sold, or indeed the price at which it was offered. I have only ever seen the one example, illustrated below, and that is in less than perfect condition. Although the box has no Albatross branding, I am pretty sure that it was produced for Albatross, rather than just being a home-made affair. It’s possible though that it was produced only for presentation copies, offered to business contacts and colleagues.
Just one of the books in this box still has its transparent dustwrapper, and that is in poor condition, but all the books would originally have had them. They were easily damaged and after a year or so, new titles were instead given paper dustwrappers in the same design as the books.
By 1928, when Aldous Huxley’s work first appeared in the Tauchnitz series, he was already a well-established writer. Tauchnitz was still the dominant English language publisher in Continental Europe, but it had struggled during the First World War and the difficulties that followed in Germany. It was no longer quite at the cutting edge of English literature, where it had been for most of its long existence, and British publishers were becoming reluctant to allow continental reprints as soon after UK publication as they previously had. Still, to join the near-5000-volume-strong Tauchnitz series was recognition that you had reached a certain level in your profession. The honour was as much to Huxley as it was to Tauchnitz.
‘Two or three graces’, a collection of Huxley’s short stories appeared in early 1928 (or possibly late 1927) as volume 4810, and the satirical novel ‘Those barren leaves’ followed shortly after as volume 4816. Although both volumes are dated 1928 on the title page, the first printing of volume 4810 is dated December 1927 at the top of the back wrapper, while volume 4816 is dated January 1928. There are multiple reprints of both books, identifiable by later dates on the back wrapper.
Sales must have gone well, and having identified Huxley as a promising young writer, Tauchnitz were keen to extend the relationship. The following year they published his new novel ‘Point Counter Point’, a longer work that stretched over two volumes, numbered 4872 and 4873, and dated March 1929 in the first printing. That was followed up by ‘Brief candles’, another collection of short stories, (volume 4958, dated October 1930) and by ‘Music at Night and other essays’ (volume 5017, dated October 1931). Both works appeared in Tauchnitz very shortly after first UK publication.
Tauchnitz though, by this time, was in turmoil. Hans Christian Wegner had been appointed to manage the firm in late 1929, after the death of Curt Otto, and was keen to modernise the series, encouraging writers such as Huxley, D.H. Lawrence and James Joyce. But his ideas were too radical for the Tauchnitz board and he left in 1931, becoming one of the key founders of the rival firm Albatross. At last, Tauchnitz had a serious competitor.
Wegner would have had a relationship with Huxley’s agent and UK publisher and been well aware of which works had already been published by Tauchnitz. He wanted Huxley for his new Albatross series, and saw an opportunity to win him over by publishing some of the earlier works that had been ignored by Tauchnitz
‘The Gioconda Smile and other stories’ appeared as volume 2 of the Albatross series in 1932. It brought together most of Huxley’s short stories from the two collections published in the UK as ‘Mortal Coils’ (1922) and ‘Little Mexican’ (1924). ‘Antic Hay’, another early work from 1923, followed as volume 24, with ‘Crome Yellow’, his first novel from 1921, published as volume 64 in 1933. Inbetween though came the real prize. Having won Huxley over and published his early work in far more attractive editions than the drab Tauchnitz volumes, Albatross was rewarded with his latest new work, ‘Brave new World’ published early in 1933 as volume 47 of the series.
A further volume of short stories appeared under the title ‘Uncle Spencer and other stories’ later in 1933, as volume 87. It combined the two remaining stories from ‘Little Mexican’, with five stories that had appeared in Huxley’s first collection ‘Limbo’ in 1921. So in the first 100 volumes and the first two years of Albatross, five Huxley volumes had been published. The tally at that point stood at six Huxley volumes in Tauchnitz and five in Albatross. Not bad for a writer who was still in his thirties.
But then two other events intervened that were to have significant effects on Huxley’s continental publishing history. The first was the near collapse of Tauchnitz, unable to compete with its much more modern rival, and the second was the rise to power in Germany of the Nazi party. I’ll come back to the effects of those two events in my next post. (See part 2)
Before the Second World War, Max Christian Wegner and John Holroyd-Reece had worked together in Paris to launch Albatross, first in competition to the old-established firm of Tauchnitz, and then to run the two companies as a joint operation. Wegner seems to have been more in control of the editorial side in the early years, but relations between the two may have soured, and in 1936 he moved from Paris to Hamburg, taking over the sales and distribution business from Kurt Enoch. From that point on, Holroyd-Reece ran the editorial side of the business from his home and office on the Ile de la Cité.
When the war came, the two found themselves on opposite sides. Holroyd-Reece had been born in Germany as Johann Hermann Riess, but had become British and fled to London, with the Nazis appropriating the business and appointing a German manager to run it. After the war, he re-launched the business from the same offices, although he himself continued to live in London.
Wegner meanwhile set up in effective competition, using the Tauchnitz brand from Hamburg. His short-term ambitions were relatively modest, and by 1948 he had re-issued about 10 of the previous Tauchnitz books in a new series, with no new publications at all. Those 10 were selected from the more than 5000 previously published by Tauchnitz. On the face of it, it’s quite odd to publish them as a new series, rather than under their original Tauchnitz series numbers, but it probably reflects the lack of clarity over rights to the Tauchnitz brand and copyrights. Wegner had no ownership of the original Tauchnitz firm and had simply created a new company, Tauchnitz Edition GmbH in Hamburg, taking advantage of the uncertainty over property rights in post-war Germany, as Holroyd-Reece was doing from Paris.
The post-war conditions in Germany however meant that the books were printed on poor quality paper and did not look attractive, either in comparison with the pre-war publications or with some of the same books being issued from Paris under the Albatross brand. Perhaps not surprisingly they don’t seem to have been a great commercial success.
Of even more concern for Wegner though was that by 1948 Wolfgang Brandstetter, the owner of the firm Oscar Brandstetter, had succeeded in re-establishing his ownership rights over Tauchnitz. Wegner was effectively forced into a short term partnership with Brandstetter as joint Managing Director. As well as extending the series further to an eventual total of 18 titles, they also created a new Students’ Series aimed at German schools, again using texts that had already been published by Tauchnitz in its pre-war Students’ Series.
The partnership between Wegner and Brandstetter was short-lived, and by 1950 Wegner was moving on again, forced out of Tauchnitz for the second time in his career. The Tauchnitz name and business was sold off, although the Students’ Series continued for several more years under a Brandstetter imprint.
At the end of the Second World War it was unclear exactly what remained of the combined Tauchnitz and Albatross publishing business that had been so successful before the war. Albatross had been owned by Sir Edmund Davis, who had died in 1939, and Tauchnitz had been owned by the printers Oscar Brandstetter, whose premises in Leipzig had been destroyed in an Allied bombing raid in 1943. The editorial office in Paris of the combined business had been taken over by the Nazis during the war, and although it continued to sell existing stock for a surprisingly long time, as well as launching a number of other ventures, the business had effectively disappeared by the end of the war.
What did remain though were the rights to a backlist of almost 6000 volumes, containing the cream of English literature from the past century. For anyone who could establish their rights to this backlist, and to the goodwill and brand recognition that went with it, there was the possibility of re-creating a significant business. At least two men – Max Christian Wegner and John Holroyd-Reece – were interested in doing so. They had both worked for Albatross before the war, although relationships between the two seem to have been difficult at times.
Holroyd-Reece chose to re-launch using the Albatross brand and series with the backing of Collins in the UK, and using the previous Albatross office in Paris, while Wegner attempted to revive Tauchnitz from Hamburg. It is unclear whether either of them could genuinely claim rights to the brand name or the Tauchnitz backlist, but in the chaos of post-war Europe, with uncertain property rights in Germany, that was perhaps not totally untypical.
Wegner started with a short series of 18 books, published between 1946 and 1949, all of them previously published by Tauchnitz. From 1948 to 1950 he added a Students’ Series of a further 12 titles, again drawn from the Tauchnitz backlist, and probably largely aimed at schools in Germany.
Early post-war Tauchnitz editions from the main series and the Students’ Series
Holroyd-Reece had rather larger ambitions, resuming the Albatross series with new titles as well as re-issuing pre-war titles. More controversially, he also re-issued books previously issued by Tauchnitz, in Albatross branding and format, but with their original Tauchnitz numbering. Some of these books were, at much the same time, being re-issued by Wegner in his Tauchnitz series. So for instance Hemingway’s ‘A farewell to arms’, originally issued by Tauchnitz in 1930 as volume 4935, also exists as Albatross volume 4935, issued in 1947, and then as volume 9 of the new Tauchnitz series, published in Hamburg in 1948.
Wegner took steps to legitimise his claims to the Tauchnitz brand in 1948, by appointing Wolfgang Brandstetter, the owner of Tauchnitz, as joint chief executive. Holroyd-Reece on the other hand could claim that when Brandstetter had bought Tauchnitz in 1934, it had ceded editorial control to Albatross. Indeed the evidence suggests that the purchase by Brandstetter may have been little more than a political fig-leaf to cover the embarrassment of a German firm being acquired by a Jewish-owned business, shortly after the Nazis came to power. Brandstetter at the start probably had no interest in running a publishing firm, or ability to do so. However it’s doubtful that an agreement entered into in 1934 in Germany, was still valid in 1947, with all that had happened in the meantime. Even if it was, some payment would presumably have been due to Brandstetter.
Of the two rival ventures, Albatross seems to have been the more adventurous and probably the more successful, launching a number of partnerships with other publishers. These led for instance to local language series under the Albatross brand in Sweden, Spain, Portugal and Germany. By 1950 though, both businesses were in terminal decline. Tauchnitz was sold and enjoyed a brief final resurgence in the 1950s, but in the end they were not really in competition with each other, they were both in competition with Penguin and the other new paperback publishers in Britain. The world of paperback publishing had changed for ever by the end of the Second World War and the conditions in which Tauchnitz and Albatross had flourished would never return.