Kauffer Covers by ACC Art Books

Jack Beddington, a footnote man, 2006 The School Prints, 2006 Art for Everyone, 2007 A Snapper up of Unconsidered Trifles, 2008 Bringers of Good Tidings, 2009 Shipboard Style, 2010 ‘Do you want it good or do you want it Tuesday?’, 2011 Designing Women, 2012 The Pleasures of Printing, 2013 Showing Off, 2013 Exhibiting Ourselves, 2014 Moving the Hearts and Minds of Men, 2014 Unashamed Artists, 2014 Art for the Ear, 2015 Here’s to Your Health, (with Stella Harpley), 2015 Tom Purvis: Art for the Sake of Money, 2015 The Best Advertising Course in Town, 2015 Powering the Home, 2016 From Palaces to Pre-Fabs, 2017 The Golden Age of British Advertising, 2018 Wrapping It Up, 2019 Advertising Modernism, 2020 Crusaders of Art and Design 1920–1970, 2020 Sellers of Dreams 1920–1970, 2020 P&O, A History, Shire Publications, 2012 P&O, Across the Oceans, Across the Years, Antique Collectors’ Club, 2012 The Design series with Brian Webb published by ACC Art Books Design, Lewitt-Him, 2008 Design, FHK Henrion, 2011 Design, Enid Marx, 2013

3214_Kauffer_Jacket Artwork.indd 1

‘MANY PEOPLE WERE DOING MODERN STUFF IN ENGLAND. BUT KAUFFER WAS DOING THE BEST STUFF. THERE WASN’T ANYBODY ANYWHERE NEAR HIM EXCEPT FOR CASSANDRE.’ PAUL RAND

£17. 50 I SB N 978 -1-91638 45 - 4 -5

KAUFFER’S COVERS RUTH ARTMONSKY & BRIAN WEBB

OTHER BOOKS BY RUTH ARTMONSKY

THE BOOK JACKETS AND COVERS OF EDWARD McKNIGHT KAUFFER

24/08/2021 14:56

Kauffer’s Covers The Book Jackets and Covers of Edward McKnight Kauffer Published by Artmonsky Arts Flat 1, 27 Henrietta Street London WC2E 8NA Telephone: 020 7240 8774 Email: artmonskyruth@gmail.com www.ruthartmonsky.com Text © Ruth Artmonsky & Brian Webb 2021 The jacket of this book is based on Posters by E. McKnight Kauffer, the catalogue of Kauffer’s 1937 exhibition at the Museum of Modern Art. The covers are based on a monogram drawn by EMcKK and the endpapers are from Seven Plays by Gilbert Cannan, 1923. The illustration opposite the title page is from an advertisement for Shell Oil, 1931. Where indicated images are reproduced with the permission of and thanks to Estate of E. McKnight Kauffer, Cooper Hewitt, Smithsonian Design Museum, Victoria University Library (Toronto), Library of Congress, Prints & Photographs Division. I SB N 978 -1-91638 45 - 4 -5 Designed by Webb & Webb Design Limited www.webbandwebb.co.uk Printed in Great Britain

CONTENTS INTRODUCTION 9 DESIGN 19 VICTOR GOLLANCZ 31 THE HOGARTH PRESS 39 FABER & FABER 45 THE MODERN LIBRARY 51 ALFRED A. KNOPF 63 PANTHEON 67 CATALOGUE 76 IN HIS OWN WORDS 92 CHRONOLOGY 98 ACKNOWLEDGEMENTS 103 5

INTRODUCTION T

he American, Edward McKnight Kauffer, was one of the most distinguished, and certainly most prolific, graphic designers working in Britain in the first half of the 20th century. Partfunded by a benefactor, Professor Joseph McKnight (whose name he adopted in gratitude), the young Kauffer, intent on developing a career as a ‘fine’ artist, came to Europe in 1913 to learn from what was going on in the art world there, and to develop his skills accordingly. Chance, the onset of a World War and with the need to earn a living in a foreign country, England, turned him from being a ‘fine’ artist into a very fine graphic designer. Kauffer quickly built up a reputation as an exceptional poster designer, providing about one hundred and forty posters alone for Frank Pick at London Transport, and editing one of the earliest books on the subject. Nevertheless Kauffer became a graphic designer of considerable versatility for, in addition to posters, he designed press advertisements, trade cards, brochures, labels, entertainment programmes, logos; and, beyond graphics, he would occasionally design theatrical scenery, rugs, costumes, the odd mirror, and, for Francis Meynell of the Nonesuch Press a ‘parti-colour motor car’. Kauffer believed that if someone was truly creative they could put their hand to anything, and compete successfully even with someone specialising in a particular genre.

‘To stand by any book-stall or to enter any bookshop is to witness a terrific scene of internecine warfare between innumerable latest volumes, almost all of them vying with one another for one’s attention, fiercely striving to outdo the rest in crudity of design and colour.’ MAX BEERBOHM, 1949

Opposite: Edward McKnight Kauffer, c.1920 9

DESIGN

K AU FFER’ S COV ER S

The cover of the exhibition catalogue for Posters by E McKnight Kauffer, staged at the Museum of Modern Art, New York, in 1937, left. Above, one of Kauffer’s Outposts of Britain posters for the GPO also from 1937. Both the poster and catalogue incorporate the same frame device. The lettering on the catalogue cover is typeset and for the photomontaged poster hand drawn. Kauffer wrote: ‘The cover design for the catalogue is the most recent experiment I have made and it is an endeavour to dramatize shapes in space to give excitement to the mind with the use of non-naturalistic symbols and to suggest to the person who sees it a conflict of which he is the solitary witness.’ 24

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VICTOR GOLLANCZ CRIME AND MYSTERY

he late 1920s brought Kauffer the challenge of designing covers for tales of horror, mystery and crime detection, commissions from both sides of the Atlantic, in Britain from Gollancz, and America from the Crime Club, an imprint of Doubleday Doran. In London Victor Gollancz, after a lengthy apprenticeship with Sir Ernest Benn, a publisher of largely technical books and magazines, decided to go it alone, setting up shop in Henrietta Street in Covent Garden in December 1927. By 1928, with the energy and fervor of a new entrepreneur Gollancz’s first list included a very varied range of subjects and for the first launch he looked to one of the most exciting designers of the time. Kauffer found himself working not only on politico-social topics such as H.G.Wells’s The Open Conspiracy and The Diary of a Communist Schoolboy by Nikolai Ognev but also for historical novels such as Hungarian Desider Kostolanyi’s Nero and for romances including Susan Glaspell’s Brook Evans – Gollancz’s first published book. It was in 1928 that Gollancz first dabbled in crime, mystery and horror with Dorothy Sayer’s editing of Great Short Stories of Detection, Mystery and Horror and her own Lord Peter Wimsey Views

Opposite: Victor Gollancz, photographed by Bert Hardy in 1950 walking through market porters in Henrietta Street, Covent Garden, the location of many of London’s most influential publishers. Above: The Diary of a Communist School Boy, Nikolai Ognyov, 1928. 31

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V I C TO R G O L L A N C Z

the Body, the first time the public was introduced to her famous detective. Kauffer was soon to be commissioned by Gollancz for the genre, coming from the pens of both British and American authors with the odd Frenchman. Examples as Tod Robbins The Unholy Three, Walter S. Masterman’s 2LO and Roland Dangeles’s Departure show Kauffer at his most original and most obviously under the influence of Cubism, Constructivism and the like. Not only was he challenged to visually symbolize the contents of such books but frequently to supply the lettering for the titles, sub-titles and general hype as for The Unholy Three – ‘a fantastic tale of crime and terror’ or for The Golem – ‘a novel of weird excitement by Gustav Meyrink’. It is generally given that Gollancz was not overly enthusiastic about using illustrated jackets and with the Sayers books was already experimenting with the sole use of typography. This could well have been a matter of expense reinforced by the advice of Stanley Morison, the typographer, who Gollancz had known at Ernest Benn, and who was now working with him. Morison who was all for clear communication, bluntly declared he saw no reason why ‘a man approaching a new book, with any curiosity about the contents, should be fobbed off with a picture on the jacket’. By the early 1930s Kauffer was again drawn into darker subjects with commissions from the Crime Club. This, as with Gollancz, was a new enterprise wanting to flex its muscles, producing some twenty seven books in its first year, 1928. For the Crime Club Kauffer appears to have been specially selected for books by Rufus King, an American who wrote a number of series of whodunnits, each with a different detective at the centre of

activities; the volumes tending to have titles starting ‘murder’, as Murder by the Clock, Murder on the Yacht and so on. Even when he returned to America, largely caught up with The Modern Library commissions for classics (classical, modern and contemporary) or Pantheon commissions for non-fiction, Kauffer would design jackets for the odd horror story or detective book. As early as 1940 he was designing several for George Simenon’s Maigret series, and by 1944 covers for Pocket Books, a division of Simon and Schuster. Pocket Books were the first mass production paperback publishers in the States and although it started off with well-known literature, by 1941 it was putting out Agatha Christie’s and Elery Queen’s. One of Kauffer’s strongly designed covers for Pocket Books was a Raymond Chandler in 1945 – The High Window and although by then he had shifted to a rather more realistic imagery, nevertheless it was still stylized with strong blocks of colour, red and white against a bright blue sky, with a tiny black figure of a man falling from a skyscraper.

Opposite: The High Window by Raymond Chandler and Halfway House by Ellery Queen, both published by Simon & Schuster’s Pocket Books imprint. Reputed to be the first best-seller paperback series in the United States. 33

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1928

1929

1932 Opposite: Dinners Long and Short, 1928. 34

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1928

V I C TO R G O L L A N C Z

1928

K AU FFER’ S COV ER S

THE HOGARTH PRESS A

lthough Kauffer designed only a handful of book jackets for The Hogarth Press, it has been argued that he was key to its transformation from being just amateur to becoming professional. Elizabeth Gordon claimed that: ‘In including Kauffer’s work and name the Press added a different and yet compatible discourse about artistic purpose and productions’

– that Kauffer helped draw the Woolfs into the mainstream. Leonard and Virginia Woolf had taken up the craft of handprinting in 1915 as a way of Virginia relaxing from her intense brainwork in writing. They began hand-printing books, not in the elitist sense of the dozens of small private presses springing up in the early decades of the 20th century, but, at first, just as gifts for family and friends and then, as they declared on their fifth anniversary: ‘We aimed in the first place at producing works of genuine merit that could scarcely hope to secure publication through ordinary channels.’

Opposite: Cover illustration for The Man Below, 1939, by H.T. Hopkinson. Sir Tom Hopkinson became better known as a journalist and the editor of Picture Post. Above: Kauffer’s, c.1928, logo for The Hogarth Press, although this version appears to have been used less frequently than Vanessa Bell’s design.

Their intent was not so much moneymaking as missionary; but nevertheless The Hogarth Press in fact became something of a 39

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TH E H OG A RTH PR E S S

commercial success, particularly after its publication of Virginia’s Orlando, which immediately went into numerous impressions. Although they initially concentrated on literature, from the mid1920s the Press extended its range to non-fiction, social and economic topics. By the early 1930s the Woolfs had ceased handprinting; they were to combine the risk-taking of the private presses with the professional production of the commercial press. Exactly how and when Kauffer first met the Woolfs is not recorded, possibly through the covers he had done for the Lytton Strachey books early in the 1920s or via Roger Fry and Clive Bell. Fry, something of a Kauffer fan, was to become a close friend. In any case by the time the Woolfs were realizing that inadvertently they had morphed into professional publishers, high volume producers rather than a cottage industry, Kauffer had become a well known graphic designer through his commercial work for Frank Pick and others and therefore someone they might naturally turn to in their need. The Hogarth Press’s first book jacket, for Jacob’s Room in 1922, was designed by Virginia’s sister Vanessa Bell who also designed the Press’s ‘wolf’ logo – a wolf’s head in a medal. Kauffer was not only to provide covers for the Press but to design a more progressive logo albeit the Press would continue to use both, his and Vanessa’s. Kauffer’s first book jacket for the Woolfs was for George Rylands Words and Poetry in 1928 (sometimes misquoted as Words and Music). Rylands, a literary scholar and Fellow of King’s College, Cambridge, became better known as an actor and director and was a friend and confidante of Virginia’s. The jacket, in a turquoise blue on white has overlapping heads in profile, a device that

Kauffer was to use a number of times for his covers – the heads with mouths open wide as if proclaiming, with, as the background, two blocks of colour, one white, one black. The lettering, in the same blue, is hand drawn in an art deco style with each letter split. There is no record as to what either author or publisher thought of it, although, at the time, the Press’s first ‘traveller’ (salesperson), taken on in 1928, reported that buyers generally showed resistance to anything ‘unconventional’. For whatever reason, possibly his too advanced style, Kauffer was not commissioned by the Press again until well into the 1930s. Between 1935 and 1940 he designed three jackets – Quack Quack in 1935, Smoky Crusade in 1937 and The Man Below in 1939. ‘Smoky Crusade’ is a autobiography of R.M.Fox, a socialist writer of the Irish troubles and a conscientious objector, as were several of the Bloomsbury Group. Quack Quack was by Leonard himself, who, being Jewish, had become acutely tuned to what was going on the Continent. Kauffer initially drew a design that Leonard said he liked a lot but felt rather too avant-garde for British tastes suggesting a photomontage instead. Kauffer obliged and added along with photographs of Hitler and Mussolini a grotesque head, leaving the browser still none the wiser as to what the title actually referred. The Man Below is a first novel by H.T.Hopkinson. For this Kauffer seems to have returned to the double heads image of Opposite: Photographic collage and illustration for Smoky Crusade, the autobiography of the journalist and historian R.M. Fox, 1937. (Reproduced with the permission of Simon Rendall, image provided by Victoria University Library, Toronto. 41

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Words and Poetry – this time the two heads, one in blue shadowing a black, suggesting two parallel tales to be told. Elizabeth Gordon in her chapter in Leonard and Virginia Woolf edited by Helen Southworth, argues that Kauffer’s relationship with The Hogarth Press not only coincided with ‘a shift in relation between the Press and the market’, but altered its relationship with the art world and book illustrators and designers. She further maintains that Kauffer, ‘by his aesthetic prescience’ connected the Press to ‘a new network of associations’. Evidence suggests that he may well have shifted the Woolf’s attitudes to more adventurous design and more risk-taking publishing choices, but that he was oft-times a shade too progressive for them to use, or too use without modification.

Opposite and above: Kauffer’s understandably anti-fascist montage for the cover of Leonard Wolff’s 1935 book Quack Quack. The cover features the belligerent looking Hawaiian war god Kuka’ilimoku in comparison with Mussolini and Hitler. 42

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FABER & FABER AND T.S.ELIOT

lthough Kauffer would have known of the poet and Faber & Faber director T.S.Eliot when they were both members of the Council of the Arts League just after the end of WWI, and he had illustrated one of Eliot’s poems for two of Harold Munro’s Chapbook magazines, their close friendship really developed when Kauffer began designing covers for Faber & Faber in the late 1920s. In 1925, Geoffrey Faber, a would-be poet and author, rejected a position in his father’s brewery to join Lady Gwyer, whose father had left her a publishing house specializing in scientific subjects. Kauffer is recorded as designing covers for publications under the name Faber & Gwyer including for Ray Strachey’s Shaken by the Wind. The Strachey commission may possibly have come via Lytton Strachey or Virginia Woolf as he was related to both by marriage By 1929 the firm had become Faber & Faber (albeit there was only ever one Faber), and its subject matter had moved over to literature. Faber was joined by T.S.Eliot, who had fled banking for publishing, and who was to be a director of the company for some forty years. Soon Faber and Eliot were joined by Richard de la Mare, the son of the poet Walter, who was to become the firm’s production director with a particular interest in, and skill for, selecting suitable artists and designers for its books.

Opposite and above: Art Now, 1933, by Herbert Read. The first edition in blue and second edition in red. The book was much criticised for being set in ‘unreadable’ sans serif type. 45

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It was Faber who conceived of packaging poems as an alternative to Christmas cards – the Ariel Poems. Publicity for these described them as:

one of the kings appearing to be wearing a bowler hat. Marina is again complex with a Picassoesque split head, whereas Triumphal March has a more obvious image. Paul Nash is said to have disliked the yellow cover he had been allotted and it would seem that Kauffer obligingly accepted it without ado, for his Journey of the Magi. D.H.Lawrence was generally critical of the art work for the poems but grudgingly admitted that he did not mind Kauffer’s ‘futuristic’ efforts. Although de la Mare courted artists for the Ariel Poems he does not seem to have seen illustrated covers as a major selling ploy for Faber & Faber. He wrote:

‘…series of little booklets consisting of single previously unpublished poems each suitably decorated in the gayest wrappings…designed to take the place of Christmas cards and other similar tokens that one sends for remembrance sake at certain seasons of the year.’ The first series of the Ariel Poems ran to thirty eight titles and de la Mare was soon gathering together artists to provide both covers and illustrations for them, including John and Paul Nash, Barnett Freedman, Eric Ravilious, Edward Bawden, Graham Sutherland – and Kauffer. The little eight page booklets were finely printed at the Curwen Press. Kauffer was to design four of Eliot’s – Journey of the Magi (1927), A Song for Simeon (1928), Marina (1930) and Triumphal March (1931). Herbert Simon, of the Curwen Press wrote of Kauffer’s relationship with the Press, that he was ‘quick to recognize Harold Curwen’s judgement as interpreter of design. De la Mare is reported to have told Kauffer of one of his designs:

How much better might this mint of money, that is emptied on these ephemeral wrappers – little works of art that many of them may be – be spent upon improving the quality of the materials which are used in the making of the book itself.’ It is, perhaps, curious that Kauffer did not do more work for Faber & Faber, apart from a photomontage for Herbert Read’s Art Now in 1933, given how close he had become to Eliot (both Americans, they called each other ‘Missouri’ and ‘Montana’, after the states of their births). The book caused something of a stir not so much for its cover but because it was one of the first books to be printed wholly in sans serif type. Kauffer’s return to America in 1940 would obviously been a factor, but by then Berthold Wolpe had become the Faber’s favoured jacket designer.

‘I was not sure about it at first but it certainly grows on me.’ This could well have been about Kauffer’s first offering – Journey of the Magi – for at first glance it is problematic and only by more careful perusal can one pick out the three kings, the star, and so on, 46

FA B E R & FA B E R

Kauffer’s absence may also have been due to internal politics or to the fact that Eliot was not particularly visual or in favour of his poetry being illustrated. He once wrote to Kauffer ‘yours is the only kind of decoration I can endure’. From this one might deduce that Eliot would have been well-pleased with Kauffer’s near Puritan cover for the Harcourt Brace limited edition of Four Quartets in 1943 – entirely typographical with three simple colour bands each bearing one word – ‘Four’, ‘Quartets’, ‘T.S.Eliot’. Kauffer again resorted to typography for another Harcourt Brace book, this time with Eliot having written the text – From Poe to Valery where the title is in green and white, along with Eliot’s name, linked by a swirling line against an all-black background.

Above: Four Quartets, T.S.Eliot, 1943, published by Harcourt Brace. 47

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Above left: Journey of the Magi, 1927. Below left: A Song for Simeon, 1928. Above: Introductory illustration from A Song for Simeon. 48

FA B E R & FA B E R

Above right: Marina, 1930. Below right: Triumphal March, 1931. Above: Introductory illustration from Marina. 49

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THE MODERN LIBRARY – RANDOM HOUSE I

n 1917, two young men from immigrant families took on the might of the conservative family-run American publishing establishment. Albert Boni and Horace Liveright believed that ‘good’ literature would be read by the masses if priced suitably. Naming their Greenwich Village based company The Modern Library, they began to publish reprints, initially largely of European classics, of authors with an edge, such as Ibsen, Wilde and Nietsche. Although their venture proved a success they were ill-matched as partners, Boni a quiet bookseller, Liveright a foppish chancer, and it was the latter who took over the firm. However he soon found himself in financial trouble and was relieved when he sold out to Donald Klopfer and Bennett Cerf in 1925. Klopfer and Cerf were both bibliophiles and businessmen, and, treating their reprints as commodities, set about using every which way to hype and distribute their burgeoning list, by the late 1920s consisting of well over a hundred titles. The slogan ‘The World’s Best Books’ was a considerable pull and with mail-order,

Opposite and above: Invisible Man, 1952, Ralph Ellison’s award winning debut novel which focusses on the social and intellectual issues faced by African Americans in the early twentieth century. The eye is one of Kauffer’s repertoire of visual symbols that includes hands, clouds and stars. 51

T H E M O D E R N L I B R A RY

1940

Opposite: 1946 (detail) 55

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1941

1940

T H E M O D E R N L I B R A RY

1940

K AU FFER’ S COV ER S

1940

1941

T H E M O D E R N L I B R A RY

1940

1942

K AU FFER’ S COV ER S

1951

1948

Opposite: Unpublished design for Famous Ghost Stories edited by Bennett Cerf, 1944, (from the Cooper Hewitt collection). 60

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PANTHEON K

auffer appears to have started designing covers for Pantheon in about 1943, the publishing company then only recently started in 1942 in New York, by Kurt Wolff and his wife Helen. Kurt had previously had a publishing house of some repute in Germany in the 1920s, which had become known for its cultivation of young writers and for the outstanding design of its books. He had been the first to publish Franz Kafka. The couple, exiling themselves to France in the 1930s, arrived in New York in 1941. Although Kurt had been out of publishing for some years, they decided, against all odds, to restart a publishing business, concentrating on ‘quality’ translations of European texts. Running Pantheon on a shoestring, they were helped by an arrangement with the Mellon family to publish its Bollingen Series of books (named after C.G. Jung’s Swiss home) on cultural matters, including works by and about the psychoanalyst Jung. Kauffer was to provide covers both for the translations and for books within the Bollingen Series. His first cover in 1943 was for Man the Measure by Erich Kahler, after which there appears to have been a gap before Death of Virgil by Hermann Broch, in 1945, which carried a fairly conventional cover showing the poet carrying a laurel wreath. Later Kauffer designed jackets using photography and photomontage such as with the translation

Opposite: Exile, 1949, and above the revised and ‘more legible’ design, 1953. 67

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1917 Look! We Have Come Through D.H. Lawrence Chatto & Windus

1921 Eminent Victorians Lytton Strachey Chatto & Windus

1922 Noel Gilbert Cannan Martin Secker

1923 The Chapbook Magazine, ed. Harold Monro The Poetry Bookshop

1923 Commercial Art Magazine The Studio Ltd.

1923 Seven Plays Gilbert Cannan Martin Secker

1923 Woman a Vindication Anthony Ludovici Constable

1924 The Art of the Poster E. McKnight Kauffer Cecil Palmer

1924 Books and Characters Lytton Strachey Chatto & Windus

1924 Queen Victoria Lytton Strachey Chatto & Windus

1924 The Weekend book: a sociable anthology Nonesuch Press

1925 The Clio L.H. Myers G.P. Putnam

1925 Expressionism Hermann Bahr Henderson

1925 Meditations of a Profane Man by ‘h’ H. Saunders Cecil Palmer

1925 That Fool of a Woman Millicent Sutherland Putnam

1926 Benito Cereno Herman Melville Nonesuch Press

1927 England Reclaimed Osbert Sitwell Duckworth

1927 Journey of the Magi T.S. Eliot Faber & Gwyer

C ATA LO G U E

1927 The Modern Movement in Art R.H. Wilenski Faber & Gwyer

1927 Pilgrims Ethel Mannin Jarrolds

1927 Radio Times Programme magazine BBC

1927 Shaken by the Wind Ray Strachey Macmillan

1928 2LO A Detective Story Walter S. Masterman Victor Gollancz

1928 A Song for Simeon T.S. Eliot Faber & Gwyer

1928 Babel John Cournos Victor Gollancz

1928 BBC Handbook BBC

1928 The Bleston Mystery Robert Milward Kennedy Victor Gollancz

1928 Brook Evans Susan Glaspell Victor Gollancz

1928 The Case with nine solutions J.J. Connington Victor Gollancz

1928 Departure Roland Dorgeles Victor Gollancz

1928 Diary of a Communist Schoolboy Nikolai Ognyov Victor Gollancz

1928 Dinners Long and Short A.H. Adair Victor Gollancz

1928 The Four Tragedies of Hemworth Lord Ernest Hamilton Victor Gollancz

1928 The Golem Gustav Meyrink Victor Gollancz

1928 The Green Toad Walter Masterman Victor Gollancz

1928 The Island of Captain Sparrow S. Fowler Wright Victor Gollancz

Kauffer Covers

Articles inside

FABER & FABER

THE MODERN LIBRARY

THE HOGARTH PRESS