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Aldous Huxley in Tauchnitz and Albatross – Part 2

For Part 1, follow this link.

In 1934 Tauchnitz was on the point of collapse.   Its brash new rival, Albatross, had succeeded far beyond its expectations and had stripped Tauchnitz of its sales, its authors and its prestige.   Tauchnitz was ready to admit defeat and to agree to being bought by Albatross, but one thing stood in the way.  The National Socialists, the Nazis,  had just come to power in Germany, and Albatross was a company with multiple Jewish connections.    In the political climate of the time, such a transaction was impossible.

Instead a complicated arrangement was put in place where Tauchnitz was bought by Brandstetter, the German printing firm that printed Albatross books.  Brandstetter passed editorial control to Albatross, but kept the printing work for itself.   From 1934, editorial control of both series was handled from Paris by Albatross.

Aldous Huxley smoking, circa 1946

Aldous Huxley

With Huxley and various other writers though, they had a problem.  Their books were being burned by the Nazis and were appearing on various lists of banned books.   Albatross / Tauchnitz had to tread carefully along a narrow line if they were to survive at all in Germany.   They had to exercise some self-censorship not only in terms of what they published, but how they published it and where they sold it.  The story is told in some detail and in very entertaining form in Michele Troy’s new book ‘Strange Bird.  The Albatross Press and the Third Reich’.

Strange Bird

On the face of it, it made little difference whether books were published by Albatross or by Tauchnitz.  Editorial control of both series was from the same office in Paris, the books of both series were printed at the same printer in Leipzig, and they were distributed by the same distributor in Hamburg.  But the evidence of the books suggests a different story.  Tauchnitz after all was a German firm, with a higher proportion of its sales in Germany, and had to be extremely careful about publishing writers that were not approved of by the German government.  Albatross, although coming under considerable German control, seemed to be allowed a little more freedom.   Its books, printed in Germany, but sold across Europe, earned valuable foreign currency for Germany and the Nazis were prepared to be a bit more tolerant.

But it seems clear that Huxley was no longer to be tolerated as a Tauchnitz author.   He had moved to Albatross anyway for new publications, but even works for which Tauchnitz already had the rights were not reprinted.   The Tauchnitz bibliography records reprint dates for the six Huxley volumes in Tauchnitz editions.  Each was reprinted several times, but none of them after the end of 1934.   A similar pattern exists for D.H. Lawrence and other writers not approved of by the Nazis.

Instead Huxley’s books were transferred across to the Albatross series.  The two volumes of short stories, ‘Two or three graces’ and ‘Brief candles’ were reprinted in 1935 as Albatross volumes 246 and 247, followed shortly afterwards by ‘Music at night and other essays’ as volume 260.  ‘Point Counter Point’ appeared in April 1937 as volumes 331 and 332.

Two volume, or even three volume novels had been a long tradition for Tauchnitz, although gradually dropping out of favour by the 1930s.  For Albatross, they were almost unheard of.  Longer novels appeared, not in two volumes, but in a larger ‘extra volume’ sold at a higher price.  Presumably they could have done that with ‘Point Counter Point’, but, perhaps for contractual reasons, they chose to retain the Tauchnitz two volume format.  Unlike Tauchnitz though, they offered the two volumes for sale together in a slipcase.

Point counter point with slipcase

This transfer of Huxley’s books across to Albatross was probably made necessary by implicit censorship, but it made some sense anyway for editorial reasons.  Albatross had been the more modern, edgier series, and Tauchnitz the more traditional, conservative one, even before the takeover.   With new books still being added to both series, there had to be some basis for deciding which books appeared in which series and Huxley fitted better into Albatross.  The opportunity to develop a ‘collected edition’ of Huxley’s works in Albatross may have been too good to miss.

Huxley Collected Edition ad

On the other hand, shifting books from one series to the other could also have a financial impact.  The two firms had different ownership structures, so profits from the books could end up in a different place.  The Tauchnitz bibliographers, Todd & Bowden, accused the Albatross managers, particularly John Holroyd-Reece, of systematically transferring profits away from Tauchnitz, to the detriment of the new owners, Brandstetter.

This is probably unfair, and seems to take no account of the difficult circumstances in Germany at the time.  Whether the various dealings were fair to Brandstetter or not, depends upon the basis on which they went into the arrangement, what the ongoing financial arrangements were, and also on what was politically possible in 1930s Germany.   They did after all buy Tauchnitz at a time when, without the support of Albatross, it had little future or value at all.  It is likely that Brandstetter’s financial interest came more from printing the books of both firms than from the profits of publishing.  But the details of the arrangements were to be of vital importance later when war came to separate the firms.

Albatross 269 Beyond the Mexique Bay

There was still the question of  whether any further new works of Huxley’s could be published.  ‘Beyond the Mexique Bay’, appeared in Britain in 1934, nominally a record of Huxley’s travels in Mexico and Central America, but also including long sections that were critical of fascism and offensive to the German government.   It could not appear in translation in Germany but it might be more tolerated in English.  It did appear in 1935, as Albatross volume 269, but only after considerable self-censorship by the Albatross editors – “die Schere im Kopf”, or the scissors in your own head, as described by Michele Troy’s book.  Even then it’s an open question as to how openly it could be sold in Germany as opposed to other European countries.

It was followed by ‘The olive tree and other essays’ in August 1937 (volume 336) and then by ‘Eyeless in Gaza’ in January 1938 as volume 358.  Finally in July 1939, only a few weeks before the outbreak of war, came ‘Along the Road’, another collection of essays, originally published in Britain as early as 1925, so another example of catching up with Huxley’s earlier works.

In total then, 14 Huxley volumes in Albatross, five of them transferred across from Tauchnitz (and one more that never transferred), covering almost all his pre-war novels and short stories, as well as a representative selection of his essays and travel writing.   In the end only D.H. Lawrence accounted for more volumes in the series, although Agatha Christie was level on fourteen.  For a series that was printed in Germany in the 1930s and a writer whose books were burned and appeared on banned lists, that was quite an achievement.

Albatross Spines Aldous Huxley no slipcase

Aldous Huxley in Tauchnitz and Albatross – Part 1

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.

 Tauchnitz 4810 Two or three graces  Tauchnitz 4810 Two or three graces rear wrapper

 Tauchnitz 4816 Those Barren Leaves  Tauchnitz 4816 Those Barren Leaves rear 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 4872 Point Counter Point Vol 1  Tauchnitz 4873 Point Counter Point Vol 2

 Tauchnitz 4958 Brief Candles  Tauchnitz 5017 Music at Night

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.

Huxley in Tauchnitz and Albatross to 1934

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.

La France classique – The French Tauchnitz

Tauchnitz made its name publishing contemporary English literature in Germany and selling it throughout continental Europe, in a series that ran to over 5000 volumes over a period of 100 years from 1841.  Publishing contemporary French literature might have seemed a natural brand extension, but they never tried it.

In modern day terms, the reasons may seem obvious.  English is much more widely spoken than French, particularly as a second language, so the market for French literature would be much smaller.  But it’s not obvious that would have been so much the case 175 years ago, when Tauchnitz launched.  You only need to read Tolstoy to know that in the early 19th century, French was the second language for many educated Europeans.  And the Napoleonic Wars had left much of Europe under French control, barely 30 years before Tauchnitz started publishing.

Napoleon

Nor is it obvious that French literature would have been any less popular, or less widely read.  The romantic novels of Walter Scott had been successful in Europe and with the rise of  Charles Dickens, English literature was perhaps entering a golden age.  But in France, writers such as Victor Hugo and Alexander Dumas were similarly popular.  Was there not a market for publishing their works in the original language in other countries in Europe, including Britain as well?

There almost certainly was a market, but not it seems one where Tauchnitz felt he could achieve any competitive advantage.  The difference seems to have been that French literature was already widely available throughout Europe in cheap editions.  These were often pirated by Belgian publishers, but even the French originals were significantly cheaper than British novels.  Given the very public stance that Tauchnitz had taken on paying authors for copyright in respect of English language novels, they could hardly take a different approach with French authors, and they perhaps saw no easy way to compete.

La France Classique 16 Corneille I front cover

Instead Tauchnitz tried for a period to sell classic French works, from long-dead authors, where the question of copyright payments was no longer relevant.   Their series ‘La France Classique’ was launched in 1845, just 3 years or so after the ‘Collection of British Authors’, but ran to just 18 volumes over a 14 year period, so presumably was not a success.

Half of those volumes appeared in the very first year, 1845, including works by Racine, Voltaire and Rousseau, as well as an edition of the fables of La Fontaine.   1846 saw a four volume edition of the works of Molière, but after that there was nothing further until two single volumes in 1849 and 1850.  It was clear by then that there was little interest in extending the series, although a two volume edition of Corneille was published in 1852 and a final volume of Voltaire’s ‘Henriade’ in 1859.

La France Classique 9 Saint-Pierre title page

The first printings of all bar the final volume showed the publisher’s name on the title page as ‘Bern. Tauchnitz Jeune’.  The final volume and reprints of earlier volumes show the publisher as ‘Bernard Tauchnitz’ (using the French, rather than German spelling of Bernard).  I haven’t seen enough copies to be able to distinguish any other variants, although as always paperback copies can be distinguished by which other volumes in the series they advertise on the wrappers.   It seems likely that the series continued to be sold even after the final volume appeared in 1859, although possibly only until stocks were exhausted.

La France Classique spines

Like other Tauchnitz Editions, the French volumes are now found in a wide variety of bindings

Having failed to achieve any competitive advantage in publishing French literature, Tauchnitz then retired from the fray and concentrated on English literature.  The firm did eventually return to publishing in French many years later, but not until the Second World War.  By then the circumstances were very different, and that’s another story.

Charles Dickens – The lost Leipzig letters

The relationship between Charles Dickens and Bernhard Tauchnitz was much closer and friendlier than is often the case between authors and publishers.  The letters between the two men were both very numerous and very cordial.   They were also preserved for a long time.  But where are they now?

“I really do not know what it would be fair and reasonable to require from you.’, writes Dickens in 1846, “But I have every reason to rely upon your honourable intentions; and if you will do me the favour to state your own proposal, I have little doubt that I shall be willing to assent to it …”.   Then in 1854, “… It was a matter of real regret to me that I was abroad when you were in London.  For it would have given me true pleasure to have taken your hand and thanked you with all heartiness for your friendship.  I hope to do so on the occasion of your next visit, and also that it will not be long before you return here.  Mrs. Dickens and her sister unite with me in best regards to yourself and family.”.

    Tauchnitz 2 frontispiece

Bernhard Tauchnitz and Charles Dickens

The two men had known each other since 1843, when Dickens was 31 and Tauchnitz just 26.  Dickens was undoubtedly the star author in the Tauchnitz series.  The Tauchnitz Editions were the only authorised editions of Dickens’ work to be published in continental Europe in English, and covered all of his novels, as well as a long series of volumes reprinted from ‘Household Words’.  So the correspondence between the two men is evidence of a long and trusting relationship.

The letters from Dickens were kept by Tauchnitz, along with correspondence from other authors.  When the firm celebrated its 50th anniversary in 1887 by publishing an anniversary history and catalogue, the book included excerpts from letters sent to Tauchnitz from various authors who had by then died, including Dickens.   A shorter anniversary publication 25 years later in 1912 gave even greater prominence to the correspondence.  This time a dedicated section on letters from Dickens preceded a general section on letters from all other authors.

Letter from Dickens in The Harvest

Facsimile letter from the Centenary publication

In 1937 the Centenary publication contained facsimiles of a small number of author letters, with pride of place again going to a letter from Dickens.   This was followed by a selection of contemporary letters of congratulation on the centenary from prominent people such as the British Prime Minister and the Archbishop of York.  At that point it seems clear that the archive of author correspondence was still in existence.  Presumably it remained the property of Tauchnitz, by then legally owned by Brandstetter, the firm that printed both Tauchnitz and Albatross books.  However Albatross, based in Paris, exercised editorial control over both firms, so it’s certainly possible that some or all correspondence had moved location.

In December 1943, the printing works of Brandstetter in Leipzig were destroyed in an Allied bombing raid, and it has since been widely assumed that the archive was destroyed at that time.  On the 125th anniversary of Tauchnitz in 1962 what remained of the Tauchnitz firm, by then based in Stuttgart, published a final short Festschrift.  It again quoted extracts from two letters from Dickens, but as both of these had already been published in the earlier anniversary histories, they do not provide evidence that the archive was still in existence.  Instead, rather ominously the Festschrift (roughly translated) says that ‘… most of the documents relating to the history and development of the firm in its old home town of Leipzig were destroyed in 1943, or are currently unobtainable as a result of the unhappy division of our country’.

125th Anniversary publication

The 125th anniversary Festschrift

That unhappy division came to an end in 1990 and with it the first evidence that at least some of the documents had survived.  For that evidence we are indebted to Gunter Böhnke, who discovered and transcribed some of the letters from Dickens to Tauchnitz, and to his son, Dietmar Böhnke, a lecturer at the University of Leipzig, who has more recently published them.  Gunter Böhnke in 1991 discovered 34 of Dickens’ letters to Tauchnitz and about 30 others by various Dickens family members and other publishers, in the archive of one of the state owned publishing and printing firms that were about to be dismantled following German reunification.  He photocopied and transcribed them before handing them back.   Unfortunately they have since been lost and there is now no record of what has happened to them.

Other evidence that the archive may have survived comes from a single letter that I was able to buy at auction several years ago – see my post on A letter from Charles Dickens.  This letter was not one of those transcribed by Gunter Böhnke, and was not acknowledged in the auction as being from Dickens, so presumably it must have been separated from other letters, probably before 1991.

24. Auktion

One stray letter, separated from the archive

It appears that at some stage the Tauchnitz archive was broken up.  Large parts of it may by now have been lost or destroyed, even if they survived the 1943 attack.  But there does remain the intriguing possibility that other letters, including those seen in 1991, still exist and may turn up again some day.   That could include not only multiple letters from Dickens, but a treasure trove of letters from other leading authors of the 19th and 20th centuries.

 

 

What’s in a name? That flaming Jun.

On the title page of early Tauchnitz Editions, the publisher’s name is shown as ‘Bernh. Tauchnitz Jun.’  On any edition published after 1852 it is shown as ‘Bernard Tauchnitz’.  That added Jun. is an important indicator of the age of the book.  But why and how?

EPSON MFP image

When Bernhard Tauchnitz started his own publishing firm in 1837, he was not even 21 years old.  He was certainly young, but’junior’ usually means younger, rather than young. So who was he younger than?   I haven’t been able to find any evidence of his father’s name, but it would make some sense if his father had also been Bernhard Tauchnitz.

However, according to an article written by Tighe Hopkins in 1901, Bernhard’s father had died while his son was quite young, so even if he was called Bernhard, there was probably no need to add ‘Jun.’ to distinguish the son from his father.  But if not needed to distinguish the two, it may still have been a way of referencing and paying respect to his father.

Tighe Hopkins article extract

Extract from an article by Tighe Hopkins in 1901

Or was it more a way of distinguishing Bernhard from his uncle Karl Tauchnitz, whose name was already well known as a printer and publisher in Leipzig?  Bernhard had been apprenticed to his uncle Karl for several years before launching his own firm.  It was where he had learned the publishing business.  The firm of Karl Tauchnitz published cheap editions of Latin and Greek classics, and had introduced to Germany the stereotype method of printing.

There was certainly some risk of confusion between the two companies, and many of Bernhard’s early publications were also in Latin.  But they had different first names, so it’s not obvious that adding ‘Jun.’ to one of them would make much difference.  Anyway Karl Tauchitz had died in 1836 (possibly one of the factors pushing Bernhard to start his own business) and the business had passed to his son, also called Karl (or Carl).  So in some ways there would have been more justification for adding a ‘Jun.’ to Karl Tauchnitz’s name.

Karl Tauchnitz 2

The description ‘Bernh. Tauchnitz Jun.’ is mostly now seen on English language books, but it’s worth noting that it first appeared in 1837 or 1838, some 4 years before the start of the ‘Collection of British Authors’.  It was probably first used on Latin books and in that context makes perfect sense.   Junior may now be mostly thought of as an English word, but its origin is in Latin, as a contraction of ‘juvenior’ meaning younger.  Was that why Bernhard chose ‘Jun.’ rather than the German equivalent, ‘der Jüngere’.  I’m not sure how normal it is to use Jun. as an abbreviation in German.   It was certainly used by Tauchnitz on German books as well as on Latin and English ones, but on French books he used instead ‘Bern. Tauchnitz Jeune’.

Bernh Tauchnitz Jun Latin 2

Bernh. Tauchnitz Jun. imprint in a Latin book (with a neat monogram as well)

Bern Tauchnitz Jeune French

Imprint from a French language edition

At the end of 1852, Tauchnitz dropped the ‘Jun.’ and styled himself simply ‘Bernhard Tauchnitz’ on all subsequent title pages.  He was by then 36 and a very successful publisher, so perhaps Junior was no longer appropriate.  Now, 150 years later though, it’s useful that there are these two different descriptions.   Tauchnitz Editions are very difficult to date, and they provide a quick way to distinguish early editions.

In broad terms, any book that says ‘Bernh. Tauchnitz Jun.’ is printed before 1853, and anything that says ‘Bernhard Tauchnitz’ is no earlier than late 1852.  In particular the first printings of volumes 1 to 246 in the Collection of British Authors, all (with the one exception of volume 237) say ‘Bernh. Tauchnitz Jun.’.  Any copy of these books that says ‘Bernhard Tauchnitz’ must be a reprint, even if there is nothing else to indicate it as such.

Bernard Tauchnitz on a reprint

Bad news!  This book must be much later than 1843

It’s the very first thing I look for in any early Tauchnitz, in particular any volume dated 1852 or earlier on the title page.  A lot of these books were reprinted many times, over almost the next 100 years, and all still with the original first printing date on the title page.  So reprints vastly outnumber first printings, and it’s far more common to see ‘Bernhard Tauchnitz’ on the title page rather than ‘Bernh. Tauchnitz Jun.’.   But as soon as you see it, you know it’s a reprint.

Nicholas Nickleby, Tauchnitz and the pirates

Pirate publishers in Continental Europe and in America were a constant irritant to Charles Dickens.  There was probably no other author who suffered as much at their hands. Dickens’s early works were widely pirated in Europe until the first international copyright treaties, starting with the treaty in 1846 between Prussia and the United Kingdom.

Tauchnitz 2 frontispiece

Even many years after that, they were still being pirated in the US and Dickens became a very vocal campaigner for the introduction of international copyright laws.  He never succeeded in his lifetime.  It was not until 1891 that the US introduced an International Copyright Act, and even then it refused to join the international Berne Convention.   Perhaps worth remembering when Americans complain about the lack of copyright protection in China and elsewhere?  Trump will not be the first US president to co-operate with other countries only when it suits him.

All this was far into the future when Bernhard Tauchnitz first launched his series of English language novels in Germany in 1841.  He was free to publish the novels of British Authors without any restriction or any payment, and he enthusiastically joined the pirate band.  To his credit, he realised relatively quickly that the life of a pirate was not for him and set about building relationships with authors, including Dickens.  But for the first 18 months or so, Tauchnitz Editions were unauthorised pirate editions.

Dickens was the new rising star of English literature at that time, challenging the establishment of writers such as Bulwer Lytton, G.P.R. James, Captain Marryat and Walter Scott (who had died 10 years earlier).  The works of all of these authors were widely available in Europe in unauthorised editions, both in English and in translation.  So Tauchnitz was far from the first to publish ‘Nicholas Nickleby’ when it appeared as volumes 47 and 48 of his ‘Collection of British authors’ in 1843.

tauchnitz-47-nicholas-nickleby-title-page

Dickens wrote the novel in 1838 / 1839, publishing it in monthly instalments from March 1838 to October 1839.  Before the final instalment was published, possibly even before it was written, pirate versions of the earlier chapters were appearing.  In 1838, Georg Westerman in Braunchweig was already publishing ‘Leben und Abenteuer des Nicolaus Nickleby. Herausgegeben von Boz, dem Verfasser der Pickwicker‘.  By 1939 the novel had been published in English by J.J. Weber and Frederick Fleischer in Germany and from Paris had appeared in Baudry’s European Library.  In the same year it was published in the US by Lea and Blanchard in Philadelphia and apparently by two New York publishers, William H. Colyer and James Turney.  It seems fairly safe to assume that none of these publishers paid anything to Dickens.

Nickleby German Edition 1839 2a

A pirate German language edition of Nicholas Nickleby, already in 1839, the Second Edition

By early June 1843 when the Tauchnitz Edition of Nickleby appeared, Tauchnitz had already published ‘The Pickwick Papers’ as volumes 2 and 3 of his series, ‘American Notes for general circulation’ as volume 32 and ‘Oliver Twist’ as volume 36.  After Nickleby, ‘Sketches by Boz’ followed a month or two later, bringing the number of unauthorised Dickens volumes to seven.  But change was underway.  Dickens had returned from a six month tour of America in 1842 outraged at the piracy of his works.  In May 1843 he chaired a first meeting of the ‘Association for the Protection of Literature’.  Six weeks after that Tauchnitz made his move, proposing voluntary payment to authors.  His first authorised volume, by G.P.R. James, appeared in August 1843, and by the end of the year he was able to publish a fully authorised edition of Dickens’ latest work, ‘A Christmas Carol’.

So that first unauthorised printing of ‘Nicholas Nickleby’ in a Tauchnitz Edition was one of the last few pirate editions Tauchnitz ever published.  It can be identified by the lack of any copyright notice on the title page.  All later printings still show 1843 on the title page, but say clearly ‘copyright edition’.  Any copy printed after about 1853 will also show the later form of the publisher’s name, as ‘Bernhard Tauchnitz’ rather than ‘Bernh. Tauchnitz Jun.’

Nicholas Nickleby reprint title page vol I

The title page from a later reprint showing ‘Copyright Edition’  and ‘Bernhard Tauchnitz’

It’s not clear  to what extent the agreement with Dickens was retrospective, offering payment for works already published and copies already sold. But it would be surprising if Tauchnitz didn’t offer some payment to wash away his previous sins.  Certainly he seems to have done enough to earn the gratitude of Dickens and to establish cordial relations with him for the rest of his life.  But however much absolution Tauchnitz later received, that first Tauchnitz printing of Nicholas Nickleby still has a tinge of piracy about it.

Tauchnitz ‘Cabinet Editions’

Tauchnitz Editions sold for around the equivalent of 1s 6d, certainly much cheaper than the typical 7s 6d price for a hardback in the UK in the 19th century, but they were not exactly cheap paperbacks.   In the UK paperbacks rarely sold for more than 6d, even for much of the first half of the twentieth century, and were often more like 3d or 4d.

Although the Tauchnitz Editions were mostly sold as paperbacks, the expectation was that many of them would be privately bound and so the quality of the paper, the printing  and the binding had to be consistent with this.  They had a delicate balance to strike between quality and price – not such high quality that they were too expensive to be bought as paperbacks, but sufficiently high to be privately bound and last for hundreds of years.

tauchnitz-1233-front-wrapper

A typical 19th century Tauchnitz paperback, selling for ½ Thaler

But doesn’t every publisher dream of being able to escape from the constraints of price and produce higher quality editions?   Tauchnitz certainly did, and the result was a very short series of gift books, known as the ‘Cabinet Edition of English Classics’, starting in 1862.

Two of the volumes, ‘Childe Harold’s Pilgrimage’ by Byron, and ‘The lady of the lake’ by Walter Scott, were lengthy narrative poems that had already been published by Tauchnitz as part of larger volumes of poetry.  The other two were Shakespeare plays, ‘Hamlet’ and ‘Romeo and Juliet’, available both as individual plays and as part of longer volumes.  So all four were already sold by Tauchnitz, and at much cheaper prices. Here each is extracted to form a small gift-book on its own and is given a cloth binding with both gilt and blind-stamped decoration,  an engraved frontispiece, higher quality paper and all edges gilded.  Everything needed for them to appear like an attractive gift or keepsake.

 cabinet-classics-1  cabinet-classics-4

There is little information on the series in the Tauchnitz bibliography by Todd & Bowden, partly because the authors were able to find just a single copy of two of the books and no copy at all of the other two.  This no doubt partly reflects the low numbers produced and the even lower numbers now surviving, but also probably that being unlike most other Tauchnitz editions, they are rarely found in the standard Tauchnitz collections.  They are undoubtedly rare, but perhaps not as rare as the evidence of the bibliography would suggest.  There are now copies of all four in my own collection, and I have seen evidence of several other copies.

cabinet-classics

The evidence of the copies I have, contradicts the numbering and the dates assigned to them by Todd & Bowden.  The books themselves are not numbered, but the bibliography gives ‘The lady of the lake’ precedence over ‘Hamlet’ on the incorrect assumption that they were published in 1862 and 1863 respectively.  In practice the dates were the other way round, so that ‘Hamlet’ was one of the first two volumes, together with ‘Childe Harold’.   The final volume was ‘Romeo and Juliet’, published in 1864.

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The frontispiece to Hamlet

Incidentally the photo above shows each in a different colour cover, but it may not be as simple as this.  I have seen ‘Childe Harold’ in bindings of two different colours and with other differences as well, so it’s not clear exactly what else may exist.

The price they were sold at, according to Todd & Bowden (referencing the 1880 German Book Catalogue) was 3 Marks (or 1 Thaler) for each of the poems, and 2 Marks (around 0.70 Thaler) for the Shakespeare plays.  As far as I can tell, this price sounds reasonable for what they are, but the individual Shakespeare plays sold in paperback for 0.1 Thaler, so they may have looked expensive in comparison.

Anyway as the series extended to only these four volumes, it seems safe to assume that they were not a success.  At least one of the books though seems to have enjoyed a second life as a tourist souvenir in Rome.  A range of Tauchnitz books with Italian themes or settings were produced by or for the Italian tourist trade in the 1870s and 1880s, bound in vellum and mostly extra-illustrated.  ‘Childe Harold’s Pilgrimage’ was too small to be extra-illustrated with postcards, but it is now found in a variety of vellum bindings that seem to come from Italy.  They’re likely to be quite a bit later than the original issue of the book.  Did Tauchnitz have left over copies that they were happy to recycle in this way?  Or did Italian bookbinders order new sets of printed pages for binding?

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An Italian vellum bound edition

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Four versions in custom bindings, each one slightly different

Dickens – the extra Christmas numbers in Tauchnitz

Bookdealer Jeremy Parrott hit the headlines last year when he discovered a remarkable set of bound volumes of ‘All the Year Round’, the periodical founded and owned by Charles Dickens.  The volumes had been annotated by Dickens himself to show the names of the authors of each contribution.

All articles, stories and poems had originally been published anonymously, with only Dickens’ own name appearing as editor. The authors of many had remained unknown for well over 100 years.  It had become one of the great literary puzzles that scholars debated endlessly, and at one stroke Jeremy Parrott seems to have solved it.  It’s hard to imagine the excitement that he must have felt when he realised what he had discovered.

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But a small dent had been made in this puzzle much earlier.   One of the many firsts that the German publisher Tauchnitz achieved, was to be the first to identify who had written what in some of the Christmas numbers of ‘All the Year Round’.  Here’s how it happened.

It had become a tradition for Dickens each Christmas to publish a special Christmas number of ‘All the Year Round’ (and before that ‘Household Words’), which contained a series of short stories by different authors linked into a single overall framework.  Dickens himself would write at least one story, as well as forming the framework, and other contributors would write the other stories, or chapters.  As usual, contributors other than Dickens were mostly anonymous.

In 1862 Tauchnitz reprinted the stories from ‘All the Year Round’ of 1859, 1860 and 1861 as volume 609 of the Collection of British Authors, under the title ‘Christmas Stories’.  The paperback wrapper described the stories as being by Charles Dickens, Wilkie Collins etc., but the title page, listed all the separate authors for each story.   Dickens and Collins are given precedence in each case, followed by the other names, so it is not made clear exactly which parts were written by which author.  But at least the names are there, and according to research by Neville Davies in 1978, this is believed to be the first time that they had been identified.

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Tauchnitz volume 609 – crediting all authors

Tauchnitz had been caught out before by reprinting works from ‘Household Words’ and seeming to attribute them just to Dickens.  In 1856 he had started a series of ‘Novels and Tales  reprinted from Household Words, conducted by Charles Dickens’, where most of the writing was by other authors.  This was in the tradition of ‘Household Words’, but it became a bit much when all of volume 4 of the series and most of volume 5 were devoted to a single novel, ‘The dead secret’, written by Wilkie Collins.   Although Collins was credited on the contents page, the only author’s name on the title page and the wrappers of the first printing was that of Dickens, and this really did seem unfair.  On later printings, Collins was properly credited.  Once bitten, Tauchnitz may have been twice shy.  When it came to reprinting the Christmas stories, he wanted all authors credited.

Five years later in 1867, he brought the series up to date by publishing the Christmas stories from 1862, 1863 and 1864 as volume 888 in the series, and those from 1865 and 1866 as volume 894.  Perhaps surprisingly, this time the title page shows only the name of Dickens, although it does add ‘and the authors named at the head of the stories’.   Although this is in some ways a step backwards, the real difference here is that at the start of the stories, each chapter has the name of the author against it, so that we can now see exactly who wrote what.   Again this is believed to be the first time that this information had been revealed.  Presumably it was done with the approval of Dickens, and the same information appeared in Britain the following year, after the final Christmas story of 1867, when a Collected Edition of all the 9 stories from 1859 to 1867 was published.

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Tauchnitz volume 888 – ‘Charles Dickens and the authors named at the head of the stories’

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That final 1867 story – ‘No thoroughfare’, which was written by Dickens and Collins only, was published in a Tauchnitz Edition in June 1868, as volume 961, and both authors are fully credited.  But the story was not long enough to fill a volume on its own and so another story that had been published in ‘All the year round’ was included with it.  ‘The late Miss Hollingford’ had been written by Rosa Mulholland, but was published anonymously, leaving the rather unfortunate impression that it too had been written by Dickens and Collins.

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‘The late Miss Hollingford’ – not by Dickens and Collins

 

A Victorian satirist in Tauchnitz Editions

The name of Eustace Clare Grenville: Murray is hardly well-known these days, and so far as I know no photo of him survives.  But between 1871 and 1883, ten of his books, accounting for a total of 17 volumes, were published by Tauchnitz in its Collection of British Authors.   Although the first three were published initially under a pseudonym, he clearly became a well-enough known writer to sell significant numbers of books on the European continent, as well as in Britain.

One of the reasons for his relative lack of public profile, then as now, was that much of his work, both as an author and as a journalist, was published anonymously or under pseudonyms.  And with good cause.   A lot of his output was highly satirical, or even scurrilous, mocking public figures mercilessly.  He almost single-handedly invented, or at least developed, the style of journalism that in today’s Britain would appear in Private Eye. In his own day though, he wrote extensively for ‘Household Words’, the journal edited by Charles Dickens, as well as for various newspapers and briefly for his own publication,’The Queen’s Messenger’.

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Extracts from ‘The Queen’s Messenger’

For much of his life he combined his writing with work as a diplomat, based in Vienna, Constantinople and Odessa amongst other places, and he didn’t hesitate to lampoon his colleagues and even his direct superiors in the diplomatic service.  The Ambassador in Vienna became Lord Fiddledee in Grenville Murray’s writings, while the Ambassador in Constantinople was immortalised as Sir Hector Stubble.  Perhaps unsurprisingly, he failed to progress in the service, and was shunted into various diplomatic backwaters before being dismissed in 1868.

The cover of anonymity failed again to protect him from trouble the following year, when he published an article satirising Lord Carrington and mocking his late father.   Carrington attacked him physically, outside the Conservative Club, leading to a series of court cases, and eventually to Grenville Murray’s exile in France.  That was far from the end of his journalistic career, but it was the stimulus for his career as a novelist, and as a Tauchnitz author.

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His first novel to appear was ‘The member for Paris: a tale of the Second Empire’ written under the pseudonym of ‘Trois-Etoiles’ and published in 1871 in two volumes (vols. 1183 and 1184).  It was followed by two other novels under the same pseudonym, the partly autobiographical ‘Young Brown’ in 1874 (vols. 1444 and 1445), and ‘The boudoir cabal’, in 1875 (vols. 1514, 1515 and 1516).

Grenville Murray had arrived in Paris shortly before the Franco-Prussian War, the siege of Paris in 1870/71 and then the repression of the Paris Commune with much bloodshed.  It was the worst of times, but for a journalist and an author, it was also the best of times. There was both a wealth of material and intense public interest, in Britain and on the continent, in the events of the time and in the regime that had preceded it.

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A rare paperback first printing

He followed up those first three novels with two series of sketches of French life, called ‘French Pictures in English Chalk’, for the first time published under his own name, and now acknowledging his authorship of the earlier volumes as well.  The first series appeared in 1876 (vols. 1612 and 1613) and the second in 1878 (vols. 1770 and 1771).  In-between, ‘The Russians of Today’, a satirical review of Russian life drawing on his experiences in Odessa, was published as volume 1742.  A single volume of ‘Strange Tales’ (vol. 1793) was his third publication in 1878, followed in 1879 by another two volume novel ‘That artful vicar’ (vols. 1820 and 1821).

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Astonishingly, as well as those three books published by Tauchnitz in 1878, he was also able in the same year to have a fourth book issued in the rival ‘Asher’s Collection’ then published by Karl Grädener in Hamburg.  Another series of sketches of French life, ‘Round About France’ appeared as volume 145 in Asher’s Collection.  This seems though to have been the only title he denied to Tauchnitz.

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Grenville Murray died in Paris in 1881, but there must still have been the appetite in continental Europe for more of his writings, as two posthumous volumes followed.  ‘Six months in the ranks’, a novel of military life, was published in 1882 as volume 2064, and ‘People I have met’, a series of comic character sketches, as volume 2129 the following year.

Like all Tauchnitz Editions, the books were originally published as paperbacks, but few first printing copies remain in their original wrappers.  Most surviving copies have been rebound, and are found now in the usual variety of bindings.

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I can’t finish this post without first acknowledging the biography of Grenville Murray written by  Professor G.R. Berridge, called ‘A diplomatic whistleblower in the Victorian era’.  And secondly I have to deal with the question of that odd name.

At his birth in 1824 his name was recorded simply as ‘Eustace, son of Richard and Emma Clare’.  But Clare seems to have been an invented surname to cover up his illegitimacy. The actual parents were Richard Grenville, 1st Duke of Buckingham and Chandos, and Emma Murray, an actress.   He grew up with his mother and first took her surname, becoming Eustace Clare Murray.   Only later did he add his father’s surname as well, to become Eustace  Clare Grenville: Murray.   The colon seems to have been nothing but an affectation.  In the long run, as in the short run, his true fate was to become anonymous.

A century of celebrations and the celebration of a centenary

Tauchnitz loved issuing celebratory volumes and had plenty of occasions to do so.  The 500th volume of the series in 1860, the 1000th volume in 1869 and the 2000th in 1881 were all marked by specially commissioned volumes and by specially bound presentation copies to be offered to authors, friends and business contacts.

Then in 1887 it was time to mark the 50th anniversary of the founding of the business, with a specially published history.  Much of this is taken up with a long list of the works published by the firm, making it a rather luxurious catalogue, but it also includes excerpts from authors’ letters to Tauchnitz, which was to become a feature of subsequent histories.

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Title page of the 50th anniversary history

Volume 3000 seemed to slip by largely unnoticed, but volume 4000 in 1909 was marked by a ‘A manual of American literature’.   This gave full recognition for the first time to the huge contribution from American authors to a series that for 70 years had been called ‘The Collection of British Authors’.

Then in 1912 another anniversary history to mark 75 years.  The catalogue of publications has now disappeared, and more prominence is given to letters from authors, with Charles Dickens pre-eminent among them.

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A selection of letters from Dickens in the 75 year history

The milestone of the 5000th volume was reached in 1931 and celebrated with an ‘Anthology of Modern English Poetry’, but by then the business was tottering.  It was sold in 1934, and lived on until the outbreak of war effectively as a sub-division of Albatross, the firm which had defeated it commercially.

So when the time came to write its centenary publication in 1937 it must have felt to some in the firm more of an obituary than a celebration.  The task of writing it fell to John Holroyd-Reece, the Managing Director of Albatross, and in the end he did Tauchnitz proud, although an early draft had contained a paragraph seeming to celebrate his own role rather too much.  Again the publication included a selection of letters from famous authors, including Dickens and Disraeli, this time in facsimile form, and also a range of congratulatory letters from well-known people, including the British Prime Minister, Stanley Baldwin and the Archbishop of York.  Slightly oddly, it was given the title of ‘The Harvest’, perhaps suggesting that the firm was now reaping the benefits of previous efforts, and no longer sowing new seed for the future, a position uncomfortably close to the truth.

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The book appeared in two different forms, one with cream paper boards, and one with gold wrappers, each with a blind-stamped Tauchnitz Centenary logo on the front.  Neither version is difficult to find today.  More interesting are the presentation copies prepared for authors and other friends of the firm.  These are identical to the gold paperback edition, but the half-title is replaced with an individual printed page with the name of the person to whom it was presented.   The copy illustrated here was presented to Janet Beith, the author of ‘No second spring’, published as volume 5157 in 1934.  Other copies in public collections have the names of W.W. Jacobs, Louis Golding, H.M. Tomlinson and Helen Simpson.

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Presumably copies were printed with the names of all Tauchnitz authors still alive in 1937, which would have included, amongst many others, James Joyce, Virginia Woolf, Graham Greene, Bernard Shaw, H.G. Wells, Daphne du Maurier, Aldous Huxley, P.G. Wodehouse and A.A. Milne.   As Louis Golding, whose copy survives, was published only by Albatross, never by Tauchnitz itself, this suggests copies may also have been presented to all Albatross authors.   In that case, copies may exist with the names of Agatha Christie, Evelyn Waugh and Ernest Hemingway, amongst others.

An intriguing question arises though from the fact that several of the Tauchnitz authors, including for instance Joyce, Wells and Huxley, had been placed on the list of banned authors, by the Nazi party, then in power in Germany.  Albatross, whose editorial offices were based in Paris, continued to publish works by banned authors, but always in the Albatross series rather than in Tauchnitz, and presumably for sale only outside Germany.  Interestingly the Albatross books were still being printed in Germany, just down the road from where other works by some of the same authors were being burned.  But did Tauchnitz in 1937, a German-owned firm based in Leipzig, print special celebratory volumes for authors at that time banned in Germany?  A copy printed for James Joyce would be an interesting find …