Ravensburger History

125 years of Ravensburger

The company – the town – the family The story of a special relationship

Publisher’s notes A 125th-anniversary reading puzzle | © 2007: Ravensburger AG | Published by Ravensburger AG | Conception and editorial responsibility Heinrich ­Hüntelmann, e-mail: heinrich.huentelmann@ravensburger.de | Text Heinrich Hüntelmann | Design and production designmanufaktur|ries, 88214 Ravensburg | Proofreading ­Susanne Gernhäuser, 88214 Ravensburg | Lithographics wagner ...digitale medien, 88709 Meersburg | Printing ­Ravensburger Spieleverlag GmbH | Address of editorial office Ravensburger AG, Press and PR department, ­Robert-Bosch-Str. 1, 88214 Ravensburg, Tel. 0751/861942, Fax 0751/861657 | Printed in Germany | www.ravensburger.de

Author: Rolf Dieterich Former chief economics editor of the “Schwäbische Zeitung” and longstanding observer of the company Ravensburger

T

hink of Vienna and you think of the Viennese waltz – the very words conjure up a city of music and culture, with its operetta and grand Opera Ball. The words ­ iennese and waltz simply go together.

V The same goes for Paris fashion. Again, we are reminded of the city’s unique ambience, its elegance and lifestyle. Paris and fashion are two sides of the same coin.

It is true that Ravensburg wasn’t a centre of the German publishing industry in Otto Maier’s day. The former Free ­Imperial City could by no means compare with Berlin, Leipzig, Stuttgart or Munich. As a provincial town it attracted no special interest from book and probably also game publishers. At that time, most authors, publishers, printers, bookbinders and visual artists were convinced that the intellectual climate of the metropolis was essential to their trade. This attitude has changed somewhat since those days, with writers, painters and sculptors often moving out to the country in search of nature, peace and tranquillity.

But Ravensburg games? Admittedly it doesn’t have quite the same ring about it as an expression of the spirit and lifestyle of a city and its population.

Think of the waltz and you think of The folk of Upper Swabia are certainly rather more laid-back than ­V ienna. Think of fashion and you think The intellectual environment is of Paris. Think of Ravensburg and certainly important for a comtheir northern neighbours on the you think of games. pany whose products are deSwabian Alb, who are said to live signed to engage the mind. But to work rather than working to such a climate is not solely dependent on the lively live; to regard all forms of leisure activity as a cultural life we find in Berlin or Munich, due to the sin; and to seek out the cellar when they feel a proximity of political institutions or the social laugh coming on. In Upper Swabia, they really processes and tensions which have inspired so know how to have a good time, especially in ­Carnival many intellectuals, particularly at the time of week. But to say that they don’t take life seriously or the major social changes taking place at the end treat it as a game isn’t true at all. After all, they still of the 19th century. Even smaller towns can belong to the same Swabian race, with its proverbial have an atmosphere all of their own by virtue of an excepthrift, industriousness and sense of duty. And yet: tional geographical location. In the case of Ravensburg, the Ravens­burg and its games, the town and the company town’s position in the “tri-border” region close to Austria which bears its name, are also somehow indissolubly and Switzerland gave it an openness to the outside world linked. Think of the waltz and you think of Vienna. Think of from an early stage which was not typically found in the fashion and you think of Paris. Think of Ravensburg and you provinces. think of games.

T

his relationship wasn’t always so close, however.

Otto Maier, who, as a partner in Ravensburg’s Dorn’sche bookshop, signed his first publishing contract in 1883 (a deed which was subsequently declared the founding act of the publishing house), was evidently ­unhappy with the location of his new company. In fact he seemed almost embarrassed to admit to his authors that it was based in Ravensburg. In a still extant letter, Otto Maier assures one of them that he chose to reside in the vicinity of Lake Constance for reasons of personal taste, but that all his publishing was done in Stuttgart or Munich. The “Bethlehem-like echoes of this small but agreeable little town“ were therefore of relatively little consequence. It is almost as if he is distancing himself from his own company headquarters.

2

Such an outlook was exemplified by Otto Maier, who is known to have travelled freely and frequently between the neighbouring countries from a young age. After his bookseller’s apprenticeship at the Dorn’sche bookshop, he took the opportunity during his journeyman years to work not only in Berlin but also Graz and Zurich. It is no coincidence that the first Ravensburger game, which appeared in 1884 and featured motifs taken from Jules Verne, bore the title ”A voyage round the world”. Otto Maier also identified the potential of foreign markets at a time when few publishers were bold enough to engage in any foreign activities. This is not surprising given the difficulty of the enterprise: publishing products are much more closely bound up with the German language and culture than machines and installations, for example, which were already yielding significant

export successes for German industry at the end of the 19th century.

T

he first foreign-language games were published by Otto Maier as early as 1911. This spirit of internationality on the part of the company founder has been inherited by his sons and grandsons. The desire to travel and interest in the culture of neighbouring and more distant countries appears to be hardwired into the Maier character.

The third generation in particular has pursued a systematic policy of internationalisation, undaunted by the occasional setbacks in this broadly successful venture. ­Ravensburger is an international publishing group and will continue on this path, albeit with caution – after all, both partners and management know the risks and are aware that the ­constraints of a family business will not admit too rapid an expansion.

­ lleys, squares and cosy inns of the old town. Cosmopolia tanism and local pride are not mutually exclusive in Ravens­ burg: indeed, it is this combination that characterises the town, and with it the intellectual milieu in which the ­Ravensburger publishing company has developed over the past 125 years.

R

avensburg’s important role in the history of paper production was certainly not a factor in Otto Maier’s decision to set up his publishing business here. But even if the proximity of the paper production and processing industry is a coincidence, it is a happy one given the close relationship of paper and publishing. Paper is the most important medium for the publisher’s products, whether books or games. Ravensburg’s papermaking tradition dates back a good 600 years, making it Ger­ many’s oldest centre of paper production after Nuremberg. Although the old paper mills are long since With this early international gone, the plants in nearby ­orientation, Otto Maier was re- The first foreign-language games were Mochen­wangen and Baienfurt viving an old Ravensburg tradi- published by Otto Maier as early as 1911. still keep the industry alive in the tion. Around the transition from This spirit of internationality on the part region. And with Escher Wyss medieval to modern times, the of the company founder has been inhe- (now Voith), Ravensburg also has Upper Swabian town was a comone of the oldest paper machine rited by his sons and grandsons. mercial centre of European promanufacturers within its walls. portions. The major Ravensburg trading company which brought together renowned merchant dynasties, notably he region of Upper Swabia is overwhelmingly Caththe Humpis family, operated a then quite remarkable longolic, and the traditions of the Roman Catholic Church distance trade, with branches extending from Holland to are enthusiastically upheld, among them notably the Spain. Its main export was linens produced in small-scale “Blutritt” or Holy Blood procession in Weingarten. Whether Upper Swabian weaving mills, and it brought in oriental this Catholic environment has influenced the development spices, rice, silk and other exotic products. of the company is an interesting question. If so, then presumably in a positive sense – in spite of, or perhaps because Although the era of the Ravensburg trading company lies of, the fact that the Maier family were of the Protestant several centuries in the past, a number of imposing, if not persuasion. Indeed, the founder Otto Maier was no halfalways splendid, buildings in the old part of the town still hearted follower but a committed Protestant, and records remain as a testimony to those proud times. Although show that communal daily prayers were a matter of course Ravensburg had ceased to play a major role in national and in the family. In the old Free Imperial City of Ravensburg, the international trade by the 18th and 19th centuries, and the parity of faiths established by the Peace of Augsburg in 1555 industrialisation process was more tentative in Upper held sway, guaranteeing equal rights for Protestants and Swabia than in other parts of Württemberg, something of Catholics in public life. In numerical terms however, there the cosmopolitan spirit of the old commercial centre was no question of parity. Documents from the town’s ­remained. This is still true today, even if it’s not always ob­municipal archives record a Catholic majority of 77 percent vious at first sight. Visitors should not be fooled by the for the year 1900. The fact that the Protestant community impression of quiet insularity created by the picturesque was distinctly in the minority will have strengthened rather

T

3

T

hink of Vienna and you think of the Viennese waltz – the very words conjure up a city of music and culture, with its operetta and grand Opera Ball. The words ­ iennese and waltz simply go together.

V The same goes for Paris fashion. Again, we are reminded of the city’s unique ambience, its elegance and lifestyle. Paris and fashion are two sides of the same coin.

It is true that Ravensburg wasn’t a centre of the German publishing industry in Otto Maier’s day. The former Free ­Imperial City could by no means compare with Berlin, Leipzig, Stuttgart or Munich. As a provincial town it attracted no special interest from book and probably also game publishers. At that time, most authors, publishers, printers, bookbinders and visual artists were convinced that the intellectual climate of the metropolis was essential to their trade. This attitude has changed somewhat since those days, with writers, painters and sculptors often moving out to the country in search of nature, peace and tranquillity.

But Ravensburg games? Admittedly it doesn’t have quite the same ring about it as an expression of the spirit and lifestyle of a city and its population.

Think of the waltz and you think of The folk of Upper Swabia are certainly rather more laid-back than ­V ienna. Think of fashion and you think The intellectual environment is of Paris. Think of Ravensburg and certainly important for a comtheir northern neighbours on the you think of games. pany whose products are deSwabian Alb, who are said to live signed to engage the mind. But to work rather than working to such a climate is not solely dependent on the lively live; to regard all forms of leisure activity as a cultural life we find in Berlin or Munich, due to the sin; and to seek out the cellar when they feel a proximity of political institutions or the social laugh coming on. In Upper Swabia, they really processes and tensions which have inspired so know how to have a good time, especially in ­Carnival many intellectuals, particularly at the time of week. But to say that they don’t take life seriously or the major social changes taking place at the end treat it as a game isn’t true at all. After all, they still of the 19th century. Even smaller towns can belong to the same Swabian race, with its proverbial have an atmosphere all of their own by virtue of an excepthrift, industriousness and sense of duty. And yet: tional geographical location. In the case of Ravensburg, the Ravens­burg and its games, the town and the company town’s position in the “tri-border” region close to Austria which bears its name, are also somehow indissolubly and Switzerland gave it an openness to the outside world linked. Think of the waltz and you think of Vienna. Think of from an early stage which was not typically found in the fashion and you think of Paris. Think of Ravensburg and you provinces. think of games.

T

his relationship wasn’t always so close, however.

Otto Maier, who, as a partner in Ravensburg’s Dorn’sche bookshop, signed his first publishing contract in 1883 (a deed which was subsequently declared the founding act of the publishing house), was evidently ­unhappy with the location of his new company. In fact he seemed almost embarrassed to admit to his authors that it was based in Ravensburg. In a still extant letter, Otto Maier assures one of them that he chose to reside in the vicinity of Lake Constance for reasons of personal taste, but that all his publishing was done in Stuttgart or Munich. The “Bethlehem-like echoes of this small but agreeable little town“ were therefore of relatively little consequence. It is almost as if he is distancing himself from his own company headquarters.

2

Such an outlook was exemplified by Otto Maier, who is known to have travelled freely and frequently between the neighbouring countries from a young age. After his bookseller’s apprenticeship at the Dorn’sche bookshop, he took the opportunity during his journeyman years to work not only in Berlin but also Graz and Zurich. It is no coincidence that the first Ravensburger game, which appeared in 1884 and featured motifs taken from Jules Verne, bore the title ”A voyage round the world”. Otto Maier also identified the potential of foreign markets at a time when few publishers were bold enough to engage in any foreign activities. This is not surprising given the difficulty of the enterprise: publishing products are much more closely bound up with the German language and culture than machines and installations, for example, which were already yielding significant

export successes for German industry at the end of the 19th century.

T

he first foreign-language games were published by Otto Maier as early as 1911. This spirit of internationality on the part of the company founder has been inherited by his sons and grandsons. The desire to travel and interest in the culture of neighbouring and more distant countries appears to be hardwired into the Maier character.

The third generation in particular has pursued a systematic policy of internationalisation, undaunted by the occasional setbacks in this broadly successful venture. ­Ravensburger is an international publishing group and will continue on this path, albeit with caution – after all, both partners and management know the risks and are aware that the ­constraints of a family business will not admit too rapid an expansion.

­ lleys, squares and cosy inns of the old town. Cosmopolia tanism and local pride are not mutually exclusive in Ravens­ burg: indeed, it is this combination that characterises the town, and with it the intellectual milieu in which the ­Ravensburger publishing company has developed over the past 125 years.

R

avensburg’s important role in the history of paper production was certainly not a factor in Otto Maier’s decision to set up his publishing business here. But even if the proximity of the paper production and processing industry is a coincidence, it is a happy one given the close relationship of paper and publishing. Paper is the most important medium for the publisher’s products, whether books or games. Ravensburg’s papermaking tradition dates back a good 600 years, making it Ger­ many’s oldest centre of paper production after Nuremberg. Although the old paper mills are long since With this early international gone, the plants in nearby ­orientation, Otto Maier was re- The first foreign-language games were Mochen­wangen and Baienfurt viving an old Ravensburg tradi- published by Otto Maier as early as 1911. still keep the industry alive in the tion. Around the transition from This spirit of internationality on the part region. And with Escher Wyss medieval to modern times, the of the company founder has been inhe- (now Voith), Ravensburg also has Upper Swabian town was a comone of the oldest paper machine rited by his sons and grandsons. mercial centre of European promanufacturers within its walls. portions. The major Ravensburg trading company which brought together renowned merchant dynasties, notably he region of Upper Swabia is overwhelmingly Caththe Humpis family, operated a then quite remarkable longolic, and the traditions of the Roman Catholic Church distance trade, with branches extending from Holland to are enthusiastically upheld, among them notably the Spain. Its main export was linens produced in small-scale “Blutritt” or Holy Blood procession in Weingarten. Whether Upper Swabian weaving mills, and it brought in oriental this Catholic environment has influenced the development spices, rice, silk and other exotic products. of the company is an interesting question. If so, then presumably in a positive sense – in spite of, or perhaps because Although the era of the Ravensburg trading company lies of, the fact that the Maier family were of the Protestant several centuries in the past, a number of imposing, if not persuasion. Indeed, the founder Otto Maier was no halfalways splendid, buildings in the old part of the town still hearted follower but a committed Protestant, and records remain as a testimony to those proud times. Although show that communal daily prayers were a matter of course Ravensburg had ceased to play a major role in national and in the family. In the old Free Imperial City of Ravensburg, the international trade by the 18th and 19th centuries, and the parity of faiths established by the Peace of Augsburg in 1555 industrialisation process was more tentative in Upper held sway, guaranteeing equal rights for Protestants and Swabia than in other parts of Württemberg, something of Catholics in public life. In numerical terms however, there the cosmopolitan spirit of the old commercial centre was no question of parity. Documents from the town’s ­remained. This is still true today, even if it’s not always ob­municipal archives record a Catholic majority of 77 percent vious at first sight. Visitors should not be fooled by the for the year 1900. The fact that the Protestant community impression of quiet insularity created by the picturesque was distinctly in the minority will have strengthened rather

T

3

than weakened Otto Maier’s professional ambitions. Members of minorities often strive to be better than the ­majority in order to be accepted by them as equals. Otto Maier’s business success was probably more influenced by Protestant theology than this psychological aspect, however.

M

from their fathers. But – for all the necessary adaptation to the demands of an enlightened industrial society – they have, in their approach to both management and life in general, remained true to their ancestors’ fundamental convictions and traditions. This fundamental value-based outlook combined with the experience and know-how of modern corporate management are responsible for the distinctive character of this family business and probably also a large part of its success.

ost reformed Churches possess a certain work ethic, if to differing degrees. Labour was and to a certain extent still is regarded by Protestants as a godly activity and economic success as a divine sign that those attaining it will one day belong to the chosen few. ven if Otto Maier played down the significance of The sociologist Max Weber goes as far as to ascribe the sucRavensburg for the company when dealing with his cess of capitalism in Protestant countries largely to this authors, the company’s early output was unmistakphenomenon. The Protestant tradition in the Württemberg ably influenced by its location and its commercial structure of the 19th and early 20th cenof medium-sized industrial turies, with its more or less and craftsmans’ businesses.

He was also undoubtedly a patriarch, strong manifestations of pieAround the turn of the 19th ­solicitous and fair, but at the same time tism, had felt itself firmly century, Maier published a ruling with a firm hand over his family bound to this strict professiwealth of so-called “model and employees. There was no doubting onal and work ethic. The same publications” for all manner of the authority of this brand of was true of the Protestant craftsmen. These were moderentrepreneur.

Otto Maier. His industry and ately priced, slim or sometimes conscientiousness, his discimore weighty folders which pline, frugality and personal modesty, his devout provided master craftsmen with information on way of life and not least his strong desire for ecotrends in customer tastes, materials input and nomic success mark the publisher out as a child of supply sources, along with practical tips for exehis time and a typical representative of his religious cution. They also constituted a kind of sample and intellectual origins. He was also undoubtedly a book for furniture, portals or entire houses patriarch, solicitous and fair, but at the same time ruwhich was used by the bourgeoisie when hiring ling with a firm hand over his family and employees. craftsmen, and presumably intended by Otto There was no doubting the authority of this brand of Maier as a tool for honing his customers’ tastes in building entrepreneur. The same discipline and diligence they deand design. With his guides to legal and insurance issues, manded of themselves was ­expected without question commercial accounting or contractual practice, he also from their staff. Praise, in other words, was not among their ­catered to a target group highly familiar to him from the preferred instruments of management. And when it came immediate Ravensburg area. to the crunch, they were ­capable of showing remarkable harshness towards their own circle and their economic Maier’s publishing programme not only reflects the influcompetitors. ences of Ravensburg, but also and specially the personal ­interests and inclinations of the publisher himself, his intellectual perspectives and pedagogic ambitions.

No company could be run today on such patriarchal principles, at least not a large-scale one and certainly not a publishing house, for which the creativity of its employees is of tto Maier was a musical man. His artistic talent is key importance. Social and legal developments demand a documented in still extant sketchbooks. The moundifferent kind of management philosophy. The same goes tains, forests and lakes encountered on his rambles for Ravensburger. Otto Maier’s grandsons have run the busiand journeys at home and abroad were favourite subjects ness differently from their grandfather and differently again for his artist’s pencil, as well as buildings which caught his in-

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terest. This passion for drawing and painting was something he tried, as a publisher, to communicate to the wider public through instruction manuals and guides. Numerous activity games for children were also dedicated to drawing and painting. Such publishing projects provided an outlet for Maier’s musical inclinations and educational aspirations. His interest in instruction and learning went hand in hand with his ­enthusiasm for the educational theory of Johann Heinrich Pestalozzi and Friedrich Fröbel. He developed his own programme based on Fröbel’s principles and assisted by an ­authoress who was a recognised Fröbel specialist. Maier’s pedagogic intent still informs the company’s output to this day. It is also reflected in the work of Ravensburger’s charitable arm, which we will come back to later on.

town; a popular retail centre for the entire region, with a broad-based service industry and excellent education institutes; and not least an attractive media centre with a number of publishing companies and printers. It is also soon to become the central headquarters of the media house Schwäbischer Verlag, which is active in many fields of news and information communication. The renowned Munzinger Archive, various advertising agencies and a production firm for promotional films are based here, and the media management and journalism course at the Vocational Academy attracts students from all over Germany.

T

here’s nothing provincial about the Ravensburg of today: on the contrary, it has just the kind of intellectual and cultural climate in which creativity can flourish, and which a book and games publishing house Otto Maier’s three sons, Otto, Karl and Eugen, inherited needs. It’s just that the word from their father not only the needs to be spread more publishing house but the prinThe mountains, forests and lakes ciples that went with it. They encountered on his rambles and journeys widely within the industry. too adopted an instructional at home and abroad were favourite subjects Getting top-level creatives agenda aimed at passing on for his artist’s pencil, as well as buildings from Berlin, Düsseldorf or Munich to come to Upper Swabia certain values and intellectual which caught his interest. is still no easy task. Once here, ideas to young people through however, they generally soon discover how much their games and books. True, this was the period Ravens­burg has to offer – not just by virtue of the (the late 20s) that saw the development and nearby Lake ­Constance, as Otto Maier once wrote launch of “Fang den Hut” (=“catch the hat”) which to his author, but as a good place to work in its was to become one of the most popular German own right. And they quickly realise that this idyllic games ever – a genuine classic, or in modern partown and its inhabitants should not be underlance a best and long-seller. Nevertheless, the comestimated. Here, outer reserve and personal pany’s output as a whole under the second Maier modesty should not be taken as a sign of inner weakness or generation was predominantly elitist – perhaps lack of self-esteem. rather too much so, as the third Maier generation now admits with hindsight. tto Julius Maier and Dorothee Hess-Maier have This may also have something to do with the fact that Otto, also won national esteem and recognition in varKarl and Eugen Maier inherited not only their father’s ious ways as individuals. Dorothee Hess-Maier was ­enthusiasm and talent for the publishing profession but Chair of the German Book Trade Association for three years, possibly also his hang-ups about provincialism. If they were for example. She was the first woman to hold the office in going to live in a small town like Ravensburg, then the the 150-year history of this proud organisation, and dis­publishing programme at least should cater to the (precharged her duty with flying colours. From 1983 to 1998, sumed) tastes of a metropolitan public.

Otto Julius Maier was Chairman of the Chamber of Industry and Commerce for Lake Constance/Upper Swabia, and as Under Otto Julius Maier, son of Otto Maier, and his cousin such the most senior economic representative of the reDorothee Hess-Maier, daughter of Eugen Maier, no vestige gion. In this post, he was esteemed everywhere as a genof this provincial complex remains. And why should it? erous man and a competent discussion partner – including ­Ravensburg has long developed into a modern industrial by the state government of Baden-Württemberg in Stutt-

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than weakened Otto Maier’s professional ambitions. Members of minorities often strive to be better than the ­majority in order to be accepted by them as equals. Otto Maier’s business success was probably more influenced by Protestant theology than this psychological aspect, however.

M

from their fathers. But – for all the necessary adaptation to the demands of an enlightened industrial society – they have, in their approach to both management and life in general, remained true to their ancestors’ fundamental convictions and traditions. This fundamental value-based outlook combined with the experience and know-how of modern corporate management are responsible for the distinctive character of this family business and probably also a large part of its success.

ost reformed Churches possess a certain work ethic, if to differing degrees. Labour was and to a certain extent still is regarded by Protestants as a godly activity and economic success as a divine sign that those attaining it will one day belong to the chosen few. ven if Otto Maier played down the significance of The sociologist Max Weber goes as far as to ascribe the sucRavensburg for the company when dealing with his cess of capitalism in Protestant countries largely to this authors, the company’s early output was unmistakphenomenon. The Protestant tradition in the Württemberg ably influenced by its location and its commercial structure of the 19th and early 20th cenof medium-sized industrial turies, with its more or less and craftsmans’ businesses.

He was also undoubtedly a patriarch, strong manifestations of pieAround the turn of the 19th ­solicitous and fair, but at the same time tism, had felt itself firmly century, Maier published a ruling with a firm hand over his family bound to this strict professiwealth of so-called “model and employees. There was no doubting onal and work ethic. The same publications” for all manner of the authority of this brand of was true of the Protestant craftsmen. These were moderentrepreneur.

Otto Maier. His industry and ately priced, slim or sometimes conscientiousness, his discimore weighty folders which pline, frugality and personal modesty, his devout provided master craftsmen with information on way of life and not least his strong desire for ecotrends in customer tastes, materials input and nomic success mark the publisher out as a child of supply sources, along with practical tips for exehis time and a typical representative of his religious cution. They also constituted a kind of sample and intellectual origins. He was also undoubtedly a book for furniture, portals or entire houses patriarch, solicitous and fair, but at the same time ruwhich was used by the bourgeoisie when hiring ling with a firm hand over his family and employees. craftsmen, and presumably intended by Otto There was no doubting the authority of this brand of Maier as a tool for honing his customers’ tastes in building entrepreneur. The same discipline and diligence they deand design. With his guides to legal and insurance issues, manded of themselves was ­expected without question commercial accounting or contractual practice, he also from their staff. Praise, in other words, was not among their ­catered to a target group highly familiar to him from the preferred instruments of management. And when it came immediate Ravensburg area. to the crunch, they were ­capable of showing remarkable harshness towards their own circle and their economic Maier’s publishing programme not only reflects the influcompetitors. ences of Ravensburg, but also and specially the personal ­interests and inclinations of the publisher himself, his intellectual perspectives and pedagogic ambitions.

No company could be run today on such patriarchal principles, at least not a large-scale one and certainly not a publishing house, for which the creativity of its employees is of tto Maier was a musical man. His artistic talent is key importance. Social and legal developments demand a documented in still extant sketchbooks. The moundifferent kind of management philosophy. The same goes tains, forests and lakes encountered on his rambles for Ravensburger. Otto Maier’s grandsons have run the busiand journeys at home and abroad were favourite subjects ness differently from their grandfather and differently again for his artist’s pencil, as well as buildings which caught his in-

E

O

4

terest. This passion for drawing and painting was something he tried, as a publisher, to communicate to the wider public through instruction manuals and guides. Numerous activity games for children were also dedicated to drawing and painting. Such publishing projects provided an outlet for Maier’s musical inclinations and educational aspirations. His interest in instruction and learning went hand in hand with his ­enthusiasm for the educational theory of Johann Heinrich Pestalozzi and Friedrich Fröbel. He developed his own programme based on Fröbel’s principles and assisted by an ­authoress who was a recognised Fröbel specialist. Maier’s pedagogic intent still informs the company’s output to this day. It is also reflected in the work of Ravensburger’s charitable arm, which we will come back to later on.

town; a popular retail centre for the entire region, with a broad-based service industry and excellent education institutes; and not least an attractive media centre with a number of publishing companies and printers. It is also soon to become the central headquarters of the media house Schwäbischer Verlag, which is active in many fields of news and information communication. The renowned Munzinger Archive, various advertising agencies and a production firm for promotional films are based here, and the media management and journalism course at the Vocational Academy attracts students from all over Germany.

T

here’s nothing provincial about the Ravensburg of today: on the contrary, it has just the kind of intellectual and cultural climate in which creativity can flourish, and which a book and games publishing house Otto Maier’s three sons, Otto, Karl and Eugen, inherited needs. It’s just that the word from their father not only the needs to be spread more publishing house but the prinThe mountains, forests and lakes ciples that went with it. They encountered on his rambles and journeys widely within the industry. too adopted an instructional at home and abroad were favourite subjects Getting top-level creatives agenda aimed at passing on for his artist’s pencil, as well as buildings from Berlin, Düsseldorf or Munich to come to Upper Swabia certain values and intellectual which caught his interest. is still no easy task. Once here, ideas to young people through however, they generally soon discover how much their games and books. True, this was the period Ravens­burg has to offer – not just by virtue of the (the late 20s) that saw the development and nearby Lake ­Constance, as Otto Maier once wrote launch of “Fang den Hut” (=“catch the hat”) which to his author, but as a good place to work in its was to become one of the most popular German own right. And they quickly realise that this idyllic games ever – a genuine classic, or in modern partown and its inhabitants should not be underlance a best and long-seller. Nevertheless, the comestimated. Here, outer reserve and personal pany’s output as a whole under the second Maier modesty should not be taken as a sign of inner weakness or generation was predominantly elitist – perhaps lack of self-esteem. rather too much so, as the third Maier generation now admits with hindsight. tto Julius Maier and Dorothee Hess-Maier have This may also have something to do with the fact that Otto, also won national esteem and recognition in varKarl and Eugen Maier inherited not only their father’s ious ways as individuals. Dorothee Hess-Maier was ­enthusiasm and talent for the publishing profession but Chair of the German Book Trade Association for three years, possibly also his hang-ups about provincialism. If they were for example. She was the first woman to hold the office in going to live in a small town like Ravensburg, then the the 150-year history of this proud organisation, and dis­publishing programme at least should cater to the (precharged her duty with flying colours. From 1983 to 1998, sumed) tastes of a metropolitan public.

Otto Julius Maier was Chairman of the Chamber of Industry and Commerce for Lake Constance/Upper Swabia, and as Under Otto Julius Maier, son of Otto Maier, and his cousin such the most senior economic representative of the reDorothee Hess-Maier, daughter of Eugen Maier, no vestige gion. In this post, he was esteemed everywhere as a genof this provincial complex remains. And why should it? erous man and a competent discussion partner – including ­Ravensburg has long developed into a modern industrial by the state government of Baden-Württemberg in Stutt-

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gart. Indeed, the then Minister President Lothar Späth came personally to Ravensburg when Otto Julius Maier celebrated his 60th birthday in the historic “Schwörsaal” in ­October 1990. That the festivities were in honour of not just any entrepreneur, but a high-profile publisher was even more evident from the presence of another celebrity, however. In his speech, the renowned thinker Peter Sloterdijk ventured some philosophical reflections on the phenomenon of play. It wasn’t exactly easy listening. Indeed, some of the guests might have regarded the choice of the philosopher as keynote speaker as a brief throwback to the days which the Maiers ­themselves had described as “perhaps a little to elitist”.

T

oday, Otto Julius Maier and Dorothee Hess-Maier are on the board of Ravensburger AG, where one would presume them to be active members. Their advice, based on long experience and solid principles, is as important as ever to the publishing house.

profit line, and that figure is certainly a respectable one under the third Maier generation.

Among the special achievements of Otto Julius Maier and Dorothee Hess-Maier are also the major structural foundations which were laid under their management. Since the early 1980s, the publishing house has been organised along the lines of a corporation rather than a partnership. This ­already paved the way for the separation of capital ownership and management at a time when few could imagine the company without the Maiers at its head. It also meant that the fortunes of the company were no longer linked to those of the family. In the meantime, the company has taken advantage of the possibilities of a PLC and brought in managers from outside the family. In fact, none of the current members of the managing board of Ravensburger AG belong to the Maier family.

Despite this, Ravensburger AG still retains the distinctive character of a family business. This is also After all, they have jointly managed the company in the interests of the management, although it for decades and made it what it is today: a locally is mainly the two family members on the superrooted but internationally-oriented publishing visory board who ensure its continuation. Also, house with strong – and in some cases leading – the fundamental values for which the family market positions, not just in games and puzzles but stands, and which are documented in writing, also in the children’s and have become so ingrained in youth book sector. Many of the consciousness of the Many of Ravensburger’s games and books Ravensburger’s games and have won prizes and awards, which shows workforce over the decades books have won prizes and that the products are not only enjoyed by of management by Otto Juawards, which shows that the lius Maier and his cousin that ­customers of all ages, but also acclaimed products are not only enjoyed the notion of a complete and accorded exemplary status by by customers of all ages, but change in the corporate phiexperts in the industry. also acclaimed and accorded losophy never arises. That exemplary status by experts doesn’t of course preclude in the industry. occasional tensions between the company management and the workforce: such things occur everywhere, and Ravensburger is no exception.

This is not to say it’s all been plain sailing at Ravens­burger over the past decades: it has to be said that some wrong decisions have been taken, and some projects have failed to mong the Ravensburger principles which have return out as the Maiers had envisaged. The considerable promained more or less unchanged are, above all, the blems with a subsidiary specialising in children’s television high product quality standards in terms of content were doubtless a particularly painful experience. And the and material, the pedagogic intent, and the promotion of construction of a production plant for puzzles in France education and a sense of family and community. Ravens­ failed to meet expectations, forcing a withdrawal from the burger games and books are designed to provide pleasure site just a few years later. What counts in businessman’s and entertainment, but always at a high level. To help terms, however, is the balance, i.e. the final figure below the achieve these goals, Ravensburger also has a charitable

foundation, the “Gemeinnützige Stiftung Ravensburger Verlag”, which was set up in 2000 under the chairmanship of Dorothee Hess-Maier herself. This is a clear indication on the part of the company and its partners that they regard the promotion of education and instruction and commitment to the cultural and social welfare of children and families not just as part of the work of a game and book publisher, but as a social duty.

ily’s willingness to compromise on ethical matters. The Maiers are not the kind of entrepreneurs you can imagine making just any product: as publishers, they are interested in content. Consequently, subjects like violence remain taboo in the Ravensburger programme.

N

or would they be appropriate for the “Ravensburger” brand, shaped as it is by the proprietor family and their convictions, for it is associated by customers with an exceptionally high quality in every respect. The ven in founder Otto Maier’s day, there was no contravalues embodied by the widely recognised “Ravensburger” diction between a value-oriented approach and the brand are also expressed in the brand logo. The right-andesire for economic success. Nor do his grandchildren gled, isosceles triangle is one of those geometric figures see any fundamental conflict of interests here, but rather which create a particularly stable, solid impression. The regard it as a challenge to reconcile both the ethical and choice of blue as its colour economic aspects. Otto Julius Maier once said that even a But “true blue” is also the colour of fidelity, was probably primarily for and is therefore more suitable than any aesthetic reasons. But “true publishing house with a tradiother for a publishing house which has blue” is also the colour of tion like Ravensburger’s could no longer base its product always remained true to its central principles. ­fidelity, and is therefore more suitable than any other for a policy simply on the pubpublishing house which has lishers’ own taste and ethical always remained true to its central principles. values. The principle that the bait has to appeal The sides of the triangle could stand for three to the fish, not the angler, applied equally in his Ravensburger values which sum up the brand own field, he affirmed – a view that is probably content in a nutshell: enjoyment, education, readily shared by the management, responsible as ­togetherness. Equally possible, however, would it is for ensuring economic success. Otto Julius be to interpret them as a symbol of Ravens­ Maier and Dorothee Hess-Maier have never left us burger’s union of company, town and family. in any doubt, however, over the limits of their fam-

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gart. Indeed, the then Minister President Lothar Späth came personally to Ravensburg when Otto Julius Maier celebrated his 60th birthday in the historic “Schwörsaal” in ­October 1990. That the festivities were in honour of not just any entrepreneur, but a high-profile publisher was even more evident from the presence of another celebrity, however. In his speech, the renowned thinker Peter Sloterdijk ventured some philosophical reflections on the phenomenon of play. It wasn’t exactly easy listening. Indeed, some of the guests might have regarded the choice of the philosopher as keynote speaker as a brief throwback to the days which the Maiers ­themselves had described as “perhaps a little to elitist”.

T

oday, Otto Julius Maier and Dorothee Hess-Maier are on the board of Ravensburger AG, where one would presume them to be active members. Their advice, based on long experience and solid principles, is as important as ever to the publishing house.

profit line, and that figure is certainly a respectable one under the third Maier generation.

Among the special achievements of Otto Julius Maier and Dorothee Hess-Maier are also the major structural foundations which were laid under their management. Since the early 1980s, the publishing house has been organised along the lines of a corporation rather than a partnership. This ­already paved the way for the separation of capital ownership and management at a time when few could imagine the company without the Maiers at its head. It also meant that the fortunes of the company were no longer linked to those of the family. In the meantime, the company has taken advantage of the possibilities of a PLC and brought in managers from outside the family. In fact, none of the current members of the managing board of Ravensburger AG belong to the Maier family.

Despite this, Ravensburger AG still retains the distinctive character of a family business. This is also After all, they have jointly managed the company in the interests of the management, although it for decades and made it what it is today: a locally is mainly the two family members on the superrooted but internationally-oriented publishing visory board who ensure its continuation. Also, house with strong – and in some cases leading – the fundamental values for which the family market positions, not just in games and puzzles but stands, and which are documented in writing, also in the children’s and have become so ingrained in youth book sector. Many of the consciousness of the Many of Ravensburger’s games and books Ravensburger’s games and have won prizes and awards, which shows workforce over the decades books have won prizes and that the products are not only enjoyed by of management by Otto Juawards, which shows that the lius Maier and his cousin that ­customers of all ages, but also acclaimed products are not only enjoyed the notion of a complete and accorded exemplary status by by customers of all ages, but change in the corporate phiexperts in the industry. also acclaimed and accorded losophy never arises. That exemplary status by experts doesn’t of course preclude in the industry. occasional tensions between the company management and the workforce: such things occur everywhere, and Ravensburger is no exception.

This is not to say it’s all been plain sailing at Ravens­burger over the past decades: it has to be said that some wrong decisions have been taken, and some projects have failed to mong the Ravensburger principles which have return out as the Maiers had envisaged. The considerable promained more or less unchanged are, above all, the blems with a subsidiary specialising in children’s television high product quality standards in terms of content were doubtless a particularly painful experience. And the and material, the pedagogic intent, and the promotion of construction of a production plant for puzzles in France education and a sense of family and community. Ravens­ failed to meet expectations, forcing a withdrawal from the burger games and books are designed to provide pleasure site just a few years later. What counts in businessman’s and entertainment, but always at a high level. To help terms, however, is the balance, i.e. the final figure below the achieve these goals, Ravensburger also has a charitable

foundation, the “Gemeinnützige Stiftung Ravensburger Verlag”, which was set up in 2000 under the chairmanship of Dorothee Hess-Maier herself. This is a clear indication on the part of the company and its partners that they regard the promotion of education and instruction and commitment to the cultural and social welfare of children and families not just as part of the work of a game and book publisher, but as a social duty.

ily’s willingness to compromise on ethical matters. The Maiers are not the kind of entrepreneurs you can imagine making just any product: as publishers, they are interested in content. Consequently, subjects like violence remain taboo in the Ravensburger programme.

N

or would they be appropriate for the “Ravensburger” brand, shaped as it is by the proprietor family and their convictions, for it is associated by customers with an exceptionally high quality in every respect. The ven in founder Otto Maier’s day, there was no contravalues embodied by the widely recognised “Ravensburger” diction between a value-oriented approach and the brand are also expressed in the brand logo. The right-andesire for economic success. Nor do his grandchildren gled, isosceles triangle is one of those geometric figures see any fundamental conflict of interests here, but rather which create a particularly stable, solid impression. The regard it as a challenge to reconcile both the ethical and choice of blue as its colour economic aspects. Otto Julius Maier once said that even a But “true blue” is also the colour of fidelity, was probably primarily for and is therefore more suitable than any aesthetic reasons. But “true publishing house with a tradiother for a publishing house which has blue” is also the colour of tion like Ravensburger’s could no longer base its product always remained true to its central principles. ­fidelity, and is therefore more suitable than any other for a policy simply on the pubpublishing house which has lishers’ own taste and ethical always remained true to its central principles. values. The principle that the bait has to appeal The sides of the triangle could stand for three to the fish, not the angler, applied equally in his Ravensburger values which sum up the brand own field, he affirmed – a view that is probably content in a nutshell: enjoyment, education, readily shared by the management, responsible as ­togetherness. Equally possible, however, would it is for ensuring economic success. Otto Julius be to interpret them as a symbol of Ravens­ Maier and Dorothee Hess-Maier have never left us burger’s union of company, town and family. in any doubt, however, over the limits of their fam-

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125 years of Ravensburger

The company – the town – the family The story of a special relationship

Publisher’s notes A 125th-anniversary reading puzzle | © 2007: Ravensburger AG | Published by Ravensburger AG | Conception and editorial responsibility Heinrich ­Hüntelmann, e-mail: heinrich.huentelmann@ravensburger.de | Text Heinrich Hüntelmann | Design and production designmanufaktur|ries, 88214 Ravensburg | Proofreading ­Susanne Gernhäuser, 88214 Ravensburg | Lithographics wagner ...digitale medien, 88709 Meersburg | Printing ­Ravensburger Spieleverlag GmbH | Address of editorial office Ravensburger AG, Press and PR department, ­Robert-Bosch-Str. 1, 88214 Ravensburg, Tel. 0751/861942, Fax 0751/861657 | Printed in Germany | www.ravensburger.de

Author: Rolf Dieterich Former chief economics editor of the “Schwäbische Zeitung” and longstanding observer of the company Ravensburger