Stephen Lubell
Joseph Tscherkassky- Orientalist and Typefounder
The history of print, and more specifically ty-po of his life and the reasons for his later obscurity or at graphy, has often produced individuals who blaze least those facts known to me at present. forth for a brief moment of time, and then retreat The rp_?_i_I)_@f!~ of TscheQ::as~_!<:[~ life are~-~0~. into obscurity. Such was partially the case of Jo _lQ~~-~-Ji~~~ born in I8J2JD. ..!~!l,krai~~ and b~, hannes Gutenberg, of whom little vmuld be known f~m-~.--l2_~~Q~_Q{J!-"JYQ~J9.~!!.9£YJ~.--~~~"~~-~-~-~~~.!::! of his actual invention and life, had he not been so _l:_l_i.!Q_,_ He says, in his introduction to his Hebrew type unlucky as to be sued by his creditors. Another oase catalogue: "During my long year's activity as ov1.rner is that of Mikl6s T6tfalusi Kis, the Transylvanian of the typefoundry joseph Tscherkassky in Kiew I printer, scholar and punch cutter who has left us had no chance of carrying out the long-entertained with that marvellously legible and humanistic type idea of perfecting the Hebrew types. Only by assis face- Kis janson. For some 250 years his typeface tance on the part of the firm H. Berthold AG, the was accredited to the German typefounder Anton largest type-foundry in the world, was I able to real Janson, until Kis was rescued from obscurity and his ize my plans to this great extent."S true history brought to lightr. Yet another such I have not been able to discover any details about figure is the notable r6th French punchcutter Guil theJoseph Tscherkasskytypefoundry in Kiev: its ori laume Le Be who produced some of the most beau gins, ty-pe of production or final fate. Nor do we tiful Hebrew founts ever cut- some of them used by know why Tscherkassky became interested in orien Christopher Plantin2 • At least Le Be left us some tal t:y-pefaces, an area for which he evidently had memoranda on his types, but little is known of his some expertise and reputation. His introductory actual life. note, hOiA.rever, implies that he had long been inter A possible explanation for these lacunae is the ested in Hebrew type, yet had been unable to do fact that in printing we are dealing vvith an indus anything about it. The fact of his being_j~~~-~- trial process, which merited scant attention at the would have naturally exposed him to the Hebrew time. Except for scholar printers such as Plan tin~ language and an aesthettC"Se;Sibi'iitYffiight"ieCChiiD records or original drawings vvere kept and trade se to .£_~-~-!~!'~SE?D"-~:EB::t~~t:-~_[r~~:~:~!YP~I~~~-~-:!li~ crecy Often shrouded their work-.-ftis.incliCa~tive-tiiJ:t available. the first actual description of the printing and ·-·-·At··so·_IT_l·e_\tage, g_uit~_ possiblv about the time of typesetting process that we have is Plantin's mock vV~~;ict·w;r·· r;- T;~h~~kaSskv est~blished htinseiClii ·--··-- ...... ---~-- ... -... C...... _--···---·-- ...... ----- .....- ...... Platonic dialogue of 1567 (Dialogues Fran~ois pour les Berlin and became the ~Eag~?!_t_~_:~~~':::~L~ec- jeunes Enfants of rs6;3), written over roo years after the first book was produced and some rzo years x GYbRGY HAJ:o..V,_,._.: Mikl6s T6tfolusi Kis, Designer of the Type >)onson<. fn: The Hungarian Book Review 4 (r984), before Moxon's more expansive Afechanick Exer pps. 8-9. cises4! 2 YoNA FlSCHER: Plo.ntin of Antwerp- Books and Prints In this essay, I should like to concentrate on the from the Collections of the Plantin-Moretus Museum. life of yet another ':i.Dsg_rrn_y": the orientalist and Antwerp. (Catalogue of the exhibition). The Israel Museum. jerusalem r98r, pp. rm-ro4. typesetting specialist J~.s~pl!__~~P~It~~~ky - or 3 An Account of Calllgraphy and Printing in the Sixteenth Tscherkasskv in the German spelting. :rsc)!-~_r_k_(lS~k~· Century from Dialogues attributed to Christopher Plantin. -;as head o/the Oriental department of·B~rtho!d .~c--- Ed. RAY NASH, Horvord College Library. Cambridge, Mass. -_i_fl ___~-~!!X~~~t!:i~i~~~~X?~~~~P-~}:~~~.E~GI~~~~~~~:~~~~---·· I940. 4 JOSEPH ivfoxoN: Mechanick Exercises on the VVhoie Art of on two p~blic9-tions in the area of "oriental" !YJ2_e Printing. Ed. HERBERT 0AVID and H. .\RRY CARTO:R. New York setting (~_ebrew and Arabic). These were produced !962. by him for Berthold AG. They are rare enough to 5 !OSEPH TSCHERKASSKY: Kotalog Hebri:iischer und fiidischer find today. I will try to uncover some of the details Schriften der SchriftgieGerei H. Berth old AG. Berlin r925. joseph Tscherkassky 223
Fig.1 joseph Tscherkassky (1879-1958) Fig. 2 Dr. Oscar jolles {1860-1929) I tion of Berthold AG. Due to the unsettled condi bam8. Sometime beh\'een r?z4 and r~9 he pub- ( tions produced by the combined effects of the 1917 _U~-~~d a type specimen book of some 19 pages with 1 .A.~, I' Russian Revolution and \Vorld ·war I, many]ev•'S did ..2?..P'lE.I~~-·-;f7!p h~bets--·anE ·e-xam p-Ies- ot~se-ttTr-ig--·tor ~ ------~------~------·--~-~·---.. "--·-··-~-·--·------6 settle in Germany at that time . Hov·: exactly he the:e ne'i\'.. !Y£~!~-~~-~- The magere Stam is a slightly achieved this position is unknown, but it is possible lighter version of the basic Stam, which follo•'\'S fair that he had previous contacts with Berthold ,..,.·hen ly closely the dark coiour of the Ashkenazic model. still in the Ukraine. There are clues that he qui!~ The other two type faces are adaptation in that Ram soo_n began to use his positio_n to advance his ovm barn is a condensed version and Rahel an incised .PE?j~<=:~~- The first project ,,vas possiblv the.....lllQ.G.1L<:: version. The specimens have a title page in Yiddish tion of the type face Miriam, '':hich \·vas produced in 224 Stephen Lubell 0 er!l0ee0 ~~~F\ ee 0 ee ~ ·.,.·',~.···~.. ·· ... ······ 1!JC ·····... ~~~/' 0"',:1!1 \~~ 0 0 ;000 000 0000000 000-:>0 0 0000000 00000 1l1)7:l 1l1' 1'"1!l ilt'l\ lt''l\0 'ilt'l\ ':>:l1 ':>1::1' R':> 1~':>}'1 l1\t)l:l 17;; R? ·n'';>~' 71!11)7' iWR 1ii:l1 tl'9lt'"1 '~ tl')llt'i0 p R':> ;~yl\? tl'l\~n ilt'l\ f1~:l tll\ tl'~' :llt'1~:11 p ':>)7 ·n1i 1J!lil1 tll\ '::l :llt'' l\? ' tl')llt'i 1~1P' R? ;:mn " n;;n:~ tl'R~m ~!llt'~:l ;;l;;' 1l1i1n:l1 "=> ,O'P"1l n1y:1 .;,,,,, tl~i' 1ii , 9i1' ?;nw fJI::l ;m; tl')llt'i ,,,, tl'f''i~ l:l'~ 'l'!l ,, •i:ll\l1 1lt'l\ ..., Fig. 3 Page from the Hebrew catalogue. Original in black with borders in fu!l colour; the text is in Hebrew and set in Frank-RDh! duce this catal~zy~"9_ He raises the further hop~ ---~9-~i.... ____~l~-~~"~~~----~!E-~L_, __ :~!~t:zis~~--~EE~?l:~E~-~ th(i~---~-h-~~~--~~fgi!~~-~"2!1 il1].J2.!:.~~~ the !~vel of Heb_rew ~sc'rJ.e~k 1:11\?.l";"ii :>i'::l"i.l"11 tll\1 Y'DN"'!;l\}'; jil\ )'~:J't;;)';. jl\~);.,;;; '7;,~'71\ .")'; .,!tt;'tl\"~,>; ]1~ i;":'j O'l\ Ol\";'1 ?;7N;",-iV~NY! rm i:il\., 0!\il •-• ··~;<:. \.'~_, .. ,.,p'' ...;u· ··~·jl" ""P'-""''-""'I'-' "''".- ..1o.·, ., ...... ''"' , ..' ,, ·~~"!'.~o·~ '. "":):ttm!'\:1 1):"; Pl\ r"1~0:t'?t7 ;;oo:::•?1yn ~· ; -on•, ·f"J'1 •iitN.~ "'\)o'i 1,~ t"i'J"~ 'i i"1!<':J",N::l. TON) YVJ'"1 l)"'\1~l\J<: •:;r.~ ::-= ~,~.--r:;-:·:r• ,;."-'?'-""= .,~..,., B.llERTilOUl i\G -· :~~M~.~::-.;::~"': Fig. 4 Page from the Hebrew catalogue. Original in black with illustrations etc. in full colour; the text is in Yiddish and set in Frank-Ri.ihl but there is no doubt that Sta_m is clearl;r the design for inspiration in early lncunabula printing in a clf;;~~iSkJ:'Ba~~£E-:"·-· o•"r·"--~ "-,~--~~,·-···"""~ "·"- ______, ··"··- ~;~-;;ct;- f;;;- a -pure~, more authentic forms 11 . Raf:1eT ·-----··------Tscherkassky produced his catalogue of Hebrew ~~-~ (r867-1920), the designer of Frank-Riihl He- typefaces in 1924 and the catalogue of Arabic type bre\"' -~'rot€ an ·€ssay on this them€ in 19n, YI~~~- faces follm·ved in one year later in 1925. I will de _':~~~ .. ~~~~E reprinted by B€rthold in 1926, as part of the scribe each of these catalogues in some detail, but Berthold-Drucke, th€ series inspir_e9 ___by Dr Oskar for the meantime, it is worth relating Tscherkassl..Jl'S j0il€S'i2~Ffan-k;~;~eJJ3;~r~--Of'th~-his1:orical prece life to the cultural renaissance of Hebrew which de·nts· of Hebrew type and how much nearer they took place in Central Europe in the early zoth cen tury. Il jUST!N HOWE, PAUUNE PAUCKER: German jews and the §I.g£fuC--AftS·:-Tn:Th€T€o- .. B-a€Cf 226 Stephen Lubell ','·t i ~t'~tv'"n~mtv 1"~ 1'1.l1V ! 01ll1V )1~ ll"\~:1 ]1~ b':>Np •]1"lt ]1lt ':>lllliV ]1 I!"\ ;,~j 01p i !C1p ]1lt-'IVlllYI.l 11 •1'1 "lN~ f.1lt:1 l!. 0'1lt;;;./ llO':>lt1 ']l'1lt ~l"1ll'l.l.J:1Y1llO':>ltl •ll~lliV":1ll'.niV ]'l! plPro r0~91'0 r1l7~"1S" 9'~R! tll:!I'_;'Utl''i'tl_'_b jSN\JlN 1Yl':>V:1 Y7N ~'1l!•Oltl 1V1]1~ "lYl''lliV ~'1lVlllY11 ]1lt "'frtj;,'i?lYltjN:·qb1N'- 'ilfi i ;d,,~,,-:::-x "O'~ :-ro"nw_ ~ ~':>n ;~1 r... renw~llllt:1 en11V 1Y1J1lt-J~>~'17vl prfl' 1':>l!lll'l.lll17~ tllt:1 1l1lt11 1Y1 ]1~ ]1lt•tlllt7lVlllN:1 -?9"1rtN pN 1'T t~ob':NiiN:il ?t:)O~",;t~.:nt "·'OO'':JY) !tlD)"J:'V.l ''Wt jY~ tiNiH\'i!t:>O'b ?l'1)'~ N T'N tlN !ti0'Ji'i1N 1~l';"!N; !i~DY?tv rOl."liNtl '1 tl'b n1i:lp:i-!i':l t:l1~ O~"W',.Tp :!l'iY"'N-11~ 1:!1'.l"l :10"11 'i 0'1N tllNi~i07Jl7!1.~ -.; ]"1 "lY"lY1Y' ,oy~1ltll '1 ]N: tl!lNtliV ' 0'"1Jp YIV'"l~ 1'1 tl!lY71V ]1R•]''1Rtl7V11 "1~1 J'R1'l lllN:':> ]1N: '~~1Rll :;,:;..•;1 0'~n'1 11N '''Pi' N fY).iY 1N11r"ONtliV 1l tlNtlV 11~ -;----~ .. ;~>(., .. ~-~·.,-;::~~: :;;;·~= ,)· s,;o;c; :r;·7·;:·:::;-:: ::'~l( -:;:::;: Fig.s Page from the Hebrew catalogue. Original in black with borders win red; the text is in Yiddish and set in Frank~RUhl were to the truer calligraphic form. He referred in The rsth century Hebrew text types mostly took as his essay to the first dated example of Hebrew print their model the Sephardic hand, which was much ing from Reggio di Calabria in 1475 and noted that more fluid and rounder than its Ashkenazic coun he had used the same 3: 4 proportions as in his terpart. Frank-Riihl. He also noted that the over-exaggerated Frank's aim was clearly to get back to the roots of thick and thin strokes typical of the Ashkenazic-de the Hebre>v letter. He wrote: "1 have reverted to the rived types IYere lacking in these early typefaces. letter \veight of the Incunabula types in the design joseph Tscherkassky 227 ... '" ;;~ .;~ ·~"' J;-z::.:; !>:"~ ,--: ::;;:::-, c~ 11~ '~1P ?11 ~; 11~ ~~~~ ':,?"1~ ,n; ~· -.::.f'l:' -;:.~~ -:.::=r.-_; ,-.;;~« -; .i-;;:; -r~ -.:;·;: )\f";; p~ :.<:::;: ii::t~¥ ?ii~0 :1!~ 11i~~l~TJ~ ?$$;; :itz,~1~ -;;~-: ,:;;:q -;::.;:,r.:-:.,~,o,:; :..c-,-:-::.;~ --: -:;·~. ::t.i d~.:\!."":·~·f: -;-:;;·r ~,;r..:; :1~0i~"1i~~ ~1i~01 n#? ii::l~::t j~tp ~~~=;z~ ':;~~.~:~ ;~;;'-.:;.:~ -;::·t. .<:'.ri~.-. .<:':.::::;r. -;;~r. ~:·r-;;;; ·:· ~ip~! 01 NQ~ ?~ ::!~i'0 1'?~0 j•.: j!':~ (~"7\;::r:--, ";j~:"· J~) ,_;;~":'~:..~ ~~~~~~~[~ ~~~~~t ~~~ i:. ::!~li11. i~tp Wiij21 Ciit;l i~ 111~+\!:4&lib,i!t\ <~-.;·>· r;~-. ;:;-; '::,.-;)·t.'~ -~· ,,:;;-. -::,:;.~ c:-: -,:,.,..; r:-, ~:;-;:S lik~; 0'it;?;7 ::;~ t::l'j?'i~ ~~t1 !.V:;?-;-;;";':--..;.,~~ ·:~r: "'..,"'.;:C::«ii~ C'iW' '::lZ! ::1?:111 ii,~~ jiw7~~ ·11-;iJri o'l'?'i'i;i=f.i:f1 :??:;r;m J..'S,"i> ~!:Cl<~~ j';' -!'~~Cl t::::::l'Wiij? :l1P=f.~ Of;liiiJti 0'!'~0 ,,r.•1 ~:~~.~~~~~~;;;~iN . -;1..-. -~.,., 1 :::3:':~1 1.'..~ j'~::;:;;~. !.."'>I ·:· W1j?z:1ti /.: ~~~~~;~~:~~ ~~ ~~~ wt; ~ pt; :..~.;\~ p.-,;; :1~1~ ~"1\'?' li'~ ~~~ lii::t~i 11i?l)j?~=f.1 .C::-6; ~:;';'I\';;,)~ j>;\ "1.;" ::.:; l#W ,,, ~i~ 1~#7~ 1~1¥' ,~~iJ': ~~.;,~~;~g.~~~~;:~:~~ .;~t ".J.!-; ['r'; :tl s I~() ;::~ ocl:'.:· '0'~, ,~'0'<~ ~: ·~r~~7c'!1~;;:~ '~ 11;11n ,::;:r..; i~·\lr',:~F':· -;,:;; 7.5 ,';;1\r';, .., .. t. in-p ::,;,:;~v 1:r;1 -r::::~ t:"'11 iN::l'? liZ!W' ,,:-1?1 niii:-t? · 1~'111::lN coS.:':; C!.-; r::. ,C.'7:': F"'~ ••• ;,";''Cl ?~ ~~ 67.~71 ri7~7l'#? i'i;:t'( C~ii? <~f.::".!;) pt::~;,=z;~ :;;qz-,::: !';-. f. er:• .cSt.T:~.:'J.< c•ro ~.,-; :.v,;~ TP~ '~' 1~ i!111i1i";t?'IJ111ii'~ "!.=f.! ck r.:t:t :::;-.; fl" z:..'t!-·;i'" ::~;';"' <;';h: F':1~ J::L-'St:; i:!:·• l~lL.-.:;;."".t r,~ l7t;~t~~tm~7~,~?·w~n~ttt?f~:~tJ'~~ '.5 r:.:i't c-. ::1•1 r.-"';'.j: j;.)' ::c!:',j ;::-: ~;-;:.~:.:: ";!;~ ~~ -r;o; fu:-.r; .c:r-: :i~~ 17 ':? !f''l.~~1 C'~~~ Wiij201 'ii;tl ,;:;·.,c::; !':· ;:.~i ~-; :::;~-; -;;t..-; :;;d;:o::<'.~ ?7;, :1M::!~1 i'~ 1~'11t:H-\ ":"''N, 1J':1~ .,., <):;->t-.:>5 t-:-, ;)•:t:- !r-::: r: p;..":"'; :·r j';': L,'::;!.~,;~;;::,"';; ~'!'!'\ !:!:;»; ::C!.'\: ;,,;::1,~ ~,,,,, .iil~ ~'~~~, h~ ;,1737, ~-; -t;';r,;. -,o.7r. ~r. ::zG::::t:>• ::;;~; c::.7'l ::;~~ -:::0 ::::;,.;:: ).: ::i::::; rit:i1~ 11~::l7~1 fi~r7~ ir1.~~TJ1 :-t?~~ :=:t: -~"::.:CC:'!:!':':: ::\i::;..-:;,;::·.t •• ";!:.'1 c:: ~~ :1J:I~ l1'i:; · c?i:J i~1 :iN'~ 11iN1i:-!1 ::;:;:;::;::.: T' :;•·C; ~ •F~~·, r--~~ ,.,.. -.;;,..; ~;:::· -;:::;f-; ~~.;~~~:~~~~;~:.~~~~~~~~~ ~~~~~~:,~ ~:=~· ',;:;~; ~;·;: ·.~ 1::::··~ ;.~ :~· :~ ·:::~ ·;";;"";;"~" -·; -~.: .• - ,,_:;-· -.;~;'":"::::::o":: ~:.:·::::·:--:;;;\!; ;:"7 c.~·~"-:.:: ; :~.:-:.: .. ~ ·: ~' 7 -=~~::::· :::~!': T;· .. ,;,~ ,: ·~ ::::: :-:..;:~ ::~-- ---::-- ''" :;-;·~,..-;c":-~ .;,.-·;o:~c::: ::·-:; H. BERTHOLD AG ·- ;~ +$.;-:o.;"",;z -~ Fig. 6 Page from the Hebrew catalogue. The page from the Passover Haggadah, set in Frank-RUhi, Rashi and Deutsch-R of my alphabet, especially the Venetian .. " 13 and tn the jugendstil decorative aesthetic. Those design he noted \Vith some satisfaction that he, as an au ers who also v1-:orked in Hebrew sought to translate thorised sop her (religious scribe) had received the these currants into more specific terms, and as we seal of approval for his Frank-Rlihl from the reii shall see, Jscher:~assk':... ~.:!~_mp~~d to give his type gious authorities. The point is that there was some speci m ei}S _a ::t:D'. .9Ti~n_t~.~--c}1~~~ ~-t~-;--;~~hi~~·~;i'S'.iQ·;s-~f thing in the air at the turn of the century- partly to t?e ~.e_w ~ebrew ~ypo_~r~p~~-:.,Y~t"i;·-~~ti~~;bi,~"'th-~" do '">'ith Morris' arts and crafts movement, later ·~~ __n is .·r:~ss i_?~_.};;·i_'~"£i.~. n:~?FSiri.:,)i~.~?:~:Qi:CI:e~LtE~.· ;;~!?L influencing Ed\vard ]ohnson and his search for a purer calli.graphic form, and translated to Germany 13 lbid,p.23. 228 Stephen Lubell a:>e34 ~.~.; ::r:~ 3s fJ1EI#i4fj! ~ ,,~,; D J.&:t f(~J~ . 0?':' j ·-~ 'ill'{;;>:l§r~i ~ I l ·~, ~ 'Ill~~l ·J I 63!!35 ~~ ::~;~ .l.fl. ~ .:...-- } ~~·~~ iJ:l' ..••....•.~.' )..~:,lM. )~ii~) ~~!&···, z~ ..-~""·.~. r..t ,'\ !$ ~ ~J . ~~~ ~ ~1i11t ~ J 1"-- "'"~ ~l'J ''" ~-~\"' ~ ""' ~tl @'·.7> I r 't'1i ··i -~I .2:,}!!'13; ;\;"01 1)~~··; '< . ' S311.36 ..,~~; :;:,;•t: GC l\llif!'%~\lt\\.·.·•..•.·.·.;.{ ~~·~ ~:.•1 r~ ~- ~ ~· •. ~ ~ ~ J!r. • •• Dl'& ·~ •- !1. BERTHOLO AG ;;-.: """;/!' Fig. 7 Page from the Hebrew catalogue. Hebrew initial letters printed in red and black the more "European" or Ashkenazic typefaces as 21!_l?_!L~h~~K-~P.!!".~-ill.)~.~U~!U}1 the -~3Xl.YJ939§"--IhgE~~ rn.·o"dei" 'fO'i"the nev-;- contemporary H'eb~€~"t);pO-gra~ were three basic reasons for this: the effects of the phy. ,------~----·-~-~;;;...."_:.;;-.:~':. h-~~.~ii~~:.E~i~Ti!~~x~~~:~!~::r,~?~hi~~!.!i:&:3li~-~~~~:._?rit~:~" -,-·It has also been pointed out elsewheret4 that ther~~~-~~~gQE.9.~~-}_ttg_f!lP1.l ~~~w ~-?-the ._result~_x:_~!gration of mas~"~~EC?E jolles on his list of ]€\\'ish members of various bib~ y~-~~-~-~~-~!-~~I~~~~i-~-~.. ::E~!~E~i.!~.::.. ~-'t.!l!.r.~.::?_f)?_~_r. lip._ ;;1_s _a -E"OPhiTiC-Societ-ie-5--ii'Tid one may assume t}1at -)0-ii~s cultural~g.-£~!-~si_,.~_,:X~-~}-~g~_t?J?Ji~J1f.9_Q~P.I~-~h_ipg --~~-~I~:~~~es::.!25?._~ lis~_9. .. ::~.--!E-~.~-~~E.E·~~!EE-~E._ _4.29_..resid~_g_?_LI_1~-~!?.~L-J2 .. _M£.!?§.~Jl.~JJ:?_j3,_~E!~!:l rg Tm:o. L DE V!NNE: Der Schli.lssel zur Erfmdung der V·l30. The 1928list shows a vastly enlarged member Typographie. Ein Abschnitt aus dem Werke »The Invention of Printing~. Aus dem Englischen tibersetzt von OscAR jOLLES. ship, not only from Germany and Central Europe, Berlin 1921. ~Die Deutsche SchriftgieB.erei: eine gewerbliche both also from the USA and the rest of Europei6_ Bibliographie. Hrsg. von OSCAR !OLLES. Berlin 1923.- PAUL _lll~L~--~as thu~. !1. _f.~-~~_ly __ !._~!~.!!J:.~!,~~S222!!~~.tLqn__ .£~ BEAVJOl": Pierre Simon Fournier und die Druckkunst des tv.'ee n Be,r_th())_~ -~>?.. _?1!:~"!0 ~, .. ~-~!?S,i.!:,?,:Q~,~ ~} !~-~!:::::-i~ · 18. Jahrhunderts in Fronkreich, tibersetzt aus dem Dr Oskar Jolles (1861-1929) was one of the directors Englischen von OscAR joLLES. Privatdrucke. Lanston: Monotype Corp. 1928. ~?t !h~----?.?.rtc:In§~.:9~-~~TWSff~It~:¥ifC£IC~~::]:§t~li:S2~TIE'-- 20 Oscar joUes, Drei Reden zu seinem Gedenken. Von FR!TZ menting on his life, as he was obviously quite an im- HOMEYER, FLODOARD FREIHERR VON B!EDERMANN und KARL E~-~!~.~=p-~~?rtaYi!Yl~~~i~]iili:e:"YITtz~~gO·m"~~~!}i~.!~ KUNGSPOR. Berlin 1929. 230 Stephen Lubell ''':R "·:J:..J ~ ·~ ~...... < :S_..::.. Fig. 8 Page from the Arabic catalogue. Page from the Koran. The letters are printed in black on a gold background; the borders are in black, sky blue and red and it appears to me no small coincidence that curves and delicate hairline strokes of each typeface. Tscherkassky left for Brazil one year after Jolles' s In this respect the typefaces of H. Berthol.d AG ex death. cell. In large firms even more than in small or medi The pivotal role of Dr ]oiles in German typeset um-sized ones, it is the personailty of the directors ting of the period is underscored by Julius Roden which plays a deciding role. The constant grovv·th of berg in his lengthy article in the 1927 Gutenberg these companies and the need to keep up with a jahrbuch 21. Rod en berg 1.vrote: "Every typefoundry has its O'Wn particular style. which distinguishes it 2I fUUUS RODENSERG: NeueS Cl.US den \.VerkstCi.tten der from all the others and which reveals itself in the SchriftgieG..ereien. ln: Gj 1927, pp. 215-238. ]oseph Tscherkassky 231 >=- -;:::; >=- J:; \...-)~..~...... ~_, L L ll n I Ill .•. et: ::;>:::: 7 6 ~ .I. ~! ~ u '--""'" .I. '"'" ~.)J.~tc:~ 7 cc:::;:o::::::::-- ...... M.) r..._.r v ""' ,A) ...... M.) ~).Jv.J..J ...... hb .6. 0 ..a. ..0 a. 0 ..a. .;0 ~ c.r .M. ,A) :5 \11. ~ ~ f- ~ .> __) (.) 0 .I. .-...l.J/_/ .. c . c . ..1. .l . )l '-I ":? \,_.;) L5 L5 .. --:: .. ~- y ~oj,.Gt~o ...... ~ ,_~/! /! l)Jl)JJJ..I.: .l .l c....:_ c::...:_ ( (' ~ ~ '{ J /)' y, )-y .{, 1 r. {> 0 J -.:::::::- - '""' :-:: "--"'--' ~S.,.- ----~ r Fig. 9 Page from the Arabic catalogue. The text is printed in black and red; the page shows a complete Arabic "fount" with all variants (initial, medial final etc) continuously changing technique [ ... ] make great been responsible for the very important series of demands on the energy, intelligence, and prudence Berthold-Drucke ... " 22 This paean of praise leaves ~ of the manager -.P..Ll!Jl!f!li§_Q.1J£Qftt!9.§££!~~-iJ:E€_J~tP~~~ little doub~ t_l)a~_J.q!1:;_~-~!:l-~--~-~~-~-~~-I-~-~-~~E~-~~~-~x:.~_ef- ~lities tC:_"!:''ho??::.JJ:f!_,t;foundi1'!.8.}!,.~~~.!L~enL9}:!!:,. .!f!.~ko.!!_,~~-~!:.~;~cter. [My italics] He has in particular 22 lbid, pp. 230~23!. 232 Stephen LubeU ~J. "' ' •.))..0-~! • J_)- ~.) / "'"'"- ._. ---~_r-::--'. '~ ·s~-~"'" ..7~ ~.. , , ~._;...... ; ,,._, ., ~M 0 L.J ~)~J~ ~ 0 Wl.:i9! 'uLL..~ \),r-1 ·._.,..DA '~.:Y )a; r· ...-~i 0"''-_,.:; d..>).> y~) S·..~J~ _, ~~ y)yl.b$ J"};.)~ J? aiJ..L y/--'-< 0),..)/ .Jc.-l-4! ~ .u);_,-" ~JJ:;! """"_,::;, . _,..l..:.,.Jf ,...,]J 0 .L -~~?~ 0 )> """--'?r uJ.;.;_,-bU""v,.,-oUT .byh>--> ~ ~)!y f"~~ J? f_...:\_;:;...-,..:S ..::...... :_,b.7 (..Y_y)~r--"'YY •v.J_,_p_;_,..-=9..).) r-"".Y ...._,.>.;!/-.)...... J..:.)jy ,_}..j~ _;6:.ihl ~.J-i..Ji ..-~ r J"J-_, .:.LI_,> uj,.;, y.!>l_,_,$ j; J"?'~.i.:.l Ji-' y J;.J/~ i':)-' ~ , 0 L)_? ~L..., '-"~.Jy.> l:...... J~ d..f:=~ ~y...lc ~ •,_r.. .ti..-o.::· .JP..J:;, ---~r -....9 1;: ....~ -(....J..:.....,Y).JT ~~ li.:l . .;·] r::'~_ . ~ r- ~..) d;:;...... a ~.1 ~.) ~L:.J:.:i ':::~" .±--"L?_,S'_,:; .;:,L;_,.r J....J/...,r. ·c ,~t" ~-....., ~~'~~ -.:..,W ---~Jf". ...s..r-~u~J? ,j:f_:..i ....:.... .r. Fig. 10 Tscherkassky's introduction to the Arabic cataiogue. The text is printed in black on a yeBow background, with the borders in three colours forts to extend the name of Berthold int<:?.~?.'Q.:-~.t~!} __ _ nual general meeting a limited edition of zoo copies t}'pefaces. was printed setting out ten verses from the Book ···- fi~h-~rkas2~x:.~_li~~~~ cata~~g~_':,_~r:~-~~-~--~~-~~-~-~- of Ecclesiasticus or the Book of Sirach. Abraham Frank monograph were distributed to all the mem- Horodisch's list of the Soncino-Gesellschaft publi ~ES. ... 0_f__ !_~~ ... ?-~-~:=_ino-~~~-i~~!l:_lr::~~~~~~}~~~E'~I~~ cations adds the details that "this booklet was dedi cated by H. BertholdAG to the Soncino-Gesellschaft on the occasion of the 1925 AGM. It was set in Frank ~~~:.~~~~g~~~;;~~r~~gJa~~i~I~~1~~Y~!~ Ri.ihl Hebrew and Venetia Roman, and was printed Soncino members is not dear, but it certainly was in 200 numbered copies by Poeschel and Trepte in listed in the Soncino+Blatter of 19272 3. Q.thgLI}_E~_r! Leipzig. This small publication is a sampler of a ~~ld 12~?}~~!-~-~-~-s-~~~~-·S-~J?:~.. ~.o- .l!.l.~!?-~~E~-~-.~-1:~__ :??.~::. cino-Gesellschaft. In 1925 on the occasion of the an- 2 3 ~-::.::.~i.~~-~~~~~~~,.s:z:!2:J:"~~§~~ joseph Tscherkassky 233 longer essay on Hebrew types and letters by the late text and illustrations. The order of the catalogue Cantor Rafaei Frank of Leipzig, which Berthold AG reads from right to left in the Hebrew manner with will present as a gift to members of the Soncino the introductions starting from the right. It shouid Gesellschaft in the autumn of this year" 24. be emphasized that as a whole the catalogue is pro~ There 1vere also other societies like the Maximi~ duced to a very high standard, both in terms of lian-Gesellschaft, the Berliner-Bibliophilen-Abend pressvmrk and binding. Tscherkassky notes that and the Berliner Biicherfreunde, die Gesellschaft ___ ':_<:!i~Q~_ckl~g~~.&.92.~~~~.:..~!~!~Z~-~~f~!B.!.~-iEI__ l.:lE~~~-~~~ der Bticherfreunde zu Hamburg, die Gesellschaft _Ji~.~~-~-I~~~~x_~}_'~-- [ :~_t}~.~~P.Z~_S§_~:QL~_.\Ya..~. ~-~~~-~.ggQ.E_! g_y_ r.. des Mtinchener Bibliophilen, to mention but a fe CtiQ )',)'!+~'Q ~01 I CZ~j I CtiQ i'~ :r<;c:~ T1~ "1)'00~l:l0!:l'"11ll ,~~n~,,:l )'0e{"1't:ll!l-o~~'i~-'il':1 T''i,l':l ~~~, 11~ i~,, 't:l,~'t:l,OIV !l~:n::l~~? i'C! Fig.n Titiepage from the Stamm catalogue a collection of specimens for the Hebrew typogra~ fQL.Q.Q..q_~_p..J:in ted ill_Yi d9:_i2h..?_I2_SU:i_~~E~.. :Y~~2~3...1.!-.~~~ Q_h~iJE.~?ct~~~"Ii~}~illi~~!f~J?!~!l~~:Ihi~~~ ,,'Q'O~~=''i'7;1 .,, * :0 lliiKOj)ii"'i c:'" ~"""" "" ,..., r-"""" ~~""" o:,~tD l"i)1~:: tj ~ini c~1cf,~: nmlJ~cl.; i~iti11 :~:~-'ii-i1~'i:t-n:Jl-il!l'n :c,c~o 'ii"'i'fD'ai'i~ t]Vi'· ::·11, ::l~::~-?n:t iCrl'a ,.,,..,~N H.. BERTHOLO AG- :1~ ,?t';lO"'lY.:l ,;, l'J'f'Cl.D6 f;:.<(.\5:9 Fig.12 Page of examples from the Stamm catalogue. Text set in Stamm and Rambam Poland alone there \'>'ere nearly 6oo periodicals in no-Gesellschaft - the Society for the friends of both Hebrew and Yiddish published in 1926. Thus Je'"'ish Book founded in 1924 -gave the book a de the market for Hebrew types was there and gwv•ling. cidedly mixed review in the issue of the Soncino It is interesting to speculate what might have hap B!3.tter which appeared in 1925. The reviewer- only pened to the market- and Hebrew typography in initialed MZ (most probably Hermann Meyer, the particular- if not for the rise of Nazism and the de founder and secretary of the Soncino-Gesellschaft) structions of World War IL -wrote: Part of the obscurity into l"lhich Tscherkassky feli "Die Schriftproben, in der Berthold'schen may well be due to this. His commercial approach Schriftgie.Gerei van joseph Tscherkassky, dem Leiter may not have fallen on appreciative ears. The Sonci- ihrer Orientalischen Abteilung, zusammengestellt ]l!l! 236 Step hen Lubell Ot1'9 Nr. 83!170 ~ Z4 eN! O~i)'-; i'~M OM~ W., ~~,W., ~:l c..,v.,,~ ot,~ 1'Q)'i ,~~~w ~:lM .,)'~'Q ,~~ y,~ iW,.,., O~i)'~ ~:li' MW~ .,~tjl"iM~ .,,., MW)'~ Nr. !I!IG71 l!pl\t! !Ill 111111 :l\')'-, ,.,t,M,~ ,:lO Mi: .,~~, ,_,~,w_,,.,l\~:lw~ 1M.,:: ~::~,,on::,:: Nr. 8397~ eylltl 49 t>%\ll M,,,~w~ w~,:l t,~,w., .,~= -;~t,, H. BERTHOLD AG- J~ !t,Ni"l~'"\Y~-1'1 Fig.13 Page of examples from the Stamm catalogue. 24, 36 and 48 pt Stamm. Note the alternate forms for the "lamed" (bottom line) und in ilberaus freundlicher \Neise den Mitgliedern nicht tiber jede m6gliche Kritik hinwegsehen, und der Soncino-Gesellschaft von der Firm a mitgesandt, es darf darauf hinge>viesen werden, daB Farbgebung stellt in ihrem Umfang eine ziemlich beispiellose und Satzordnung der zahlreich beigegebenen Ver- Neuheit auf dem Gebiet hebraischen Schrifn.•.resens wendungsbeispiele zwar v6llig im Geiste orientali- dar. Die Neuheit des Unternehmens lJ:Gt jedoch scher Sch6nheitsbegriffe \V1Hzeln, es aber an jeg- Joseph Tscherkassky 237 licher Initiative fehlen lassen, diesen Geist mit den In the same issue of the Soncino-Bltitter, the Forderungen moderner Typographie in G"oerein reviewer (MZ) also reviev>'ed a type specimen book stimmung zu bringen. issued in 1924 by Drugulin in Leipzig. He wrote: Von den abgebildeten Schriften sei besonders auf "From the rich treasures of their t}'pefaces, this '"'ell die Frank-RUhl hinge.viesen; einen bemerkens established typesetter of orientalia offers samples of werten Versuch stellt auch die Miriam-Type der Hebrew in Petit and Corpus (8 and IOpt); as well as Firma dar. - Es mu£, jedoch imrner wieder mit Be an especially nicely-cut 12 pt Rashi. And they are all dauern festgestellt werden, daB die Schaffung einer unusually well-produced typefaces. Unfortunately, v6llig eiTI\'\'andfreien, drucktechnisch durchgear as with the Berthold typefaces, they are not the ulti beiteten, klassischen hebraischen Druckschrift mate solution or design. \Ve hear that sketches for a noch als eine zu l6sende Aufgabe offensteht. (MZ)" Hebrew type are in preparation, •vith the expecta ["This type specimen book \•vas produced by the tion that they satisfy all aesthetic requirements."3° Berthold Typefoundry under the direction of It would be interesting to know exactly what pro Joseph Tscherkassky, the head of its Oriental section posals the reviewer had in mind and by whom ! and complimentary copies were sent by them to all The first review quoted is the only one I have the members of the Soncino-Gesellschaft. It is in its been able to find of Tscherkassky's catalogue. extent a complete novelty in the area of Hebrew Tscherkassky made much of the contribution of printing. The novelty of the enterprise does not Jolles and Graumann in the production of the cata however exempt it from any possible criticism and it logue: as mentioned their portraits are to be found must be remarked that the use of colour and typog at the very front of the book and once again in his raphy of the many examples have their roots entire Arabic catalogue. Did he feel insecure in his asser ly in an oriental concept of beauty: the catalogue tions and felt the need of higher authority to sup hOll\lever fails in its attempt to reconcile this spirit port him? Yet another clue is the publication by \Vith the demands of modern typography. Of the Berthold in 1926 of Rafael Frank's essay on his type many t;'pefaces displayed there is a special emphasis face, together ,,vith another essay on the renaissance on the Frank-Rlihl typeface and also Berthold's of Hebrew by Dr jacques Adler of Leipzig31. This noteworthy Hebrew type - Miriam. Yet once again publication •vas produced by the Abteilung Privat one must add vvith regret that the creation of a com drucke and distributed in a restricted edition of soo pletely satisfactory, well-conceived and classical He copies to members of the Soncino-Gesellschaft. bre\'1' type has not yet been achieved ." 28] Tscherkassky's name is not mentioned in any place The criticism here can be divided into two parts: in the book. It is interesting to note that this publi the first against the orientalist spirit of Tscher cation is listed as the "sechzehnter Bertholddruck" kassky's catalogue and secondly against the very na in the Harvard bibliographic details, although I can ture of the Hebrew types displayed. We must put see no mention of this in the text. into context that the new modernist spirit was then There is, however, an indirect mention ofTscher very much active in the Bauhaus and thatjan Tschi kassky in the curious book of Hugh Schonfield, The chold's modernist typographic manifesto Ele New Hebrew Typography published in London in mentare Typografie had appeared in October 1925. 193232 . Schonfield's aim was also to render Hebrew Perhaps the reviewer is referring to this? Tschichold fit for the new typographic age and yet his results pronounced himself very much in favour of a sim were quite the opposite: he proposed an upper and ple basic typeform, and wrote that "types vv·ith lower case Hebrew alphabet based on models of defmite style characteristics or of a nationalistlc Latin letters popular at the time. In his introduction flavour, like Gothic, Fraktur or 'Kirchenslavic', are he criticised the poor quality of existing typefaces not simple enough in form, and tend to restrict the and said of Bialik- "the national Hebrew poet", possibilities of international communication." 2 9 that "the singer of the Jewish Renaissance comes be- The era of Helvetica and Univers was yet to come, but the early Hebrew "san-serifs" were most de z8 Sondno-B!iitter r (1925), pp. II8-rr9. finitely not meant for text. It is of course an irony z9 RDARl M CLEAN: jan Tschichold: Typographer. London that Frank-Rlihl Hebrew has become the classic 1975, pp. 29-30. 30 Sondno-Bii:itter r (1925), p. 123. typeface for most texts of any importance printed in 31 FRANK (see note 12). Israel, and yet its very Jugendstil attributes make it 32 HUGH J. SCHONF!ELD: The New Hebrew Typography. more and more open to criticism. London 193z, p. 23. "':!!'!~ ""'""l 238 Stephen Lubell fore us clad in grave-clothes". Schonfield does, how the soth anniversary publication of the company he ever, go on to say that "I am fully aware of the very founded- Toga: "During the thirties, Brazil totally praisevmrthy efforts of some of the great Continen lacked industrialized products. The population was tal type foundries, of whom I would especially men 37 million, 37% of whom lived in the cities. Practi tion the house of Berth old of Berlin whose Hebrew cally everything was imported and Jose Tscher type-books are excellently produced, to render the kassky soon noticed the great potential before him. old characters as elegant and serviceable as possi In 1935, he set up his own company, named after ble". Given the date, there can be no doubt that he him, starting 11\rith offices on Rua Florencio de is referring to Tscherkassky's catalogue. Abreu, Sao Paulo, to sell packaging paper."36 Yet one might conclude that the reception of As he knew well the German printing machinery Tscherkassky's catalogue was not what had been ex market, Tscherkassky was obviously able to import pected, either from the point of view of sales or crit the latest machinery to Brazil: a Julius Fischer com icism. The emphasis in Tscherkassky's catalogue is bined flexographic one-colour printer. The new decidedly commercial, with pictures of the main company was called IndUstria de Papeis de Arte Jose Berthold factories in Berlin, Leipzig, Stuttgart, and Tscherkassky and gained some large accounts - no Vienna, whereas the Frank/Adler book is much tably the packaging for Fleischmann's Yeast. By the more scholarly in its approach. early r9sos the company installed its first ro One further point regarding Tscherkassky needs togravure press and later adopted the name of Toga. to be raised. I have already mentioned the Stam cat Tscherkassky died in 1958 and the firm is now one of alogue and the possible controversy surrounding it. the largest packing and printing firms in South Amer Copyright regarding typefaces has always been (and ica. It is still managed by Tscherkassky's family. continues to be) a difficult area. Did Tscherkassky .1\s far as I have been able to ascertain, Tscher buy the rights for the typefaces he shows in his cata kassky did no further work in oriental typefaces logue, or did he cut them afresh using the Berth old after his emigration to Brazil. Here, again, possibly typecasting department? We knmv that Frank-Rtihl the shock of his dismissal and the needs of starting was designed by Rafael Frank for the C. F. Rtihl a new company took enough of his time and energy. SchriftgieGerei in Leipzig in 1908 and produced in Yet one could also suppose that his reception in Ger eight sizes - both with and without voweJs33. The many had not been '"·hat he had hoped and that he Riihl typefoundry was purchased by Berthold in was only too happy to start over again in a different I9I834 and the range extended to 72 pt in lead and r6 field? The trauma of displacement for many who ciceros (about 192pt) in wood. These dates would al were forced to flee Germany in the 1930s was often most certainly overlap with Tscherkassky's period as incapacitating. Tscherkassky obviously was able to head of the oriental department and vmuld indicate overcome these disappointments and establish him his involvement in the extension of the Frank-RUhl self once again in Brazil, perhaps even more success range. Whatever negotiations or permissions took fully as he had done so earlier in Germany. Yet his place concerning these t)'pefaces will probably contributions to the development of Hebrew and never be known, yet there is little doubt that oriental typography were of some consequence and Tscherkassky was actively involved in these develop \vorth noting. ments. Given the importance that Frank-Ri.ihl has 33 Frank-RUhl Hebrdisch. Originai-Erzeugnis meines achieved in the world of Hebrew typography, one Houses, Schriftgie&erei C. F. Rlihl. Leipzig nd. must give Tscherkassky some credit for its success. 34 HER~l..\>IN HOHMANN: Das Haus Berthold. Berlin I921. VVhat became of Tscherkassky after the publica p. III. lt is worth nothing here, for the sake of historical accuracy, that the founder of the firm- C. F. Rlihl- was no tion of these books? In .1930 joseph Tscherkassky longer alh,e at this time. He had died in r892 and the firm moved or immigrated to Brazil in order to manage managed by Fried rich Eugen Schmidt until the purchase by the local branch of Berth old AG35. It ·would be quite Berthold. Thus it was most probabiy Schmidt who commis logical to vie>....,. this move as more of a demotion sioned the designs for Frank's Hebrew typeface. than a promotion, but it no doubt saved his life in 35 Personal communication from Mr Sergio Haberfeld of Toga, SOo Paulo. Brazil. the end. The exact circumstances are not known. 36 Toga: Industria de Papers de Arte jose Tscherkossky Ltda. After the ?\azis came to power in 1933, he vvas dis Packaging, Art and Technique of o Notion. Sdo Paulo I985, missed from his job. Vv'hat followed is described in pp. [42-168. Joseph Tscherkassky 239 Bibliography Personal communications and Assistance: EYSSE:\", .JCRGE)';: Buchkunst in Deutschland. Hannover 1980. Oswald Adler ofTel;\viv FRA:\"K, RAFAEL: Gber Hebriiische Typen und Schriftarten, Dr Leila Avrin ofjerusalem SchriftgieG.erei H. Berthold. Abt. Privatdrucke. Berlin 1926. Gertraude Ben6hr of the Gutenberg-Gesellschaft Frank"Rilhl Hebr3isch. C. F. Ri.ihl Schriftgie&erei. Leipzig n. d. Dr Eva Bendt of the jiidisches Museum in Berlin Gv6RGY, HAIMA)';: 11ikl6s T6tfa!usi Kis, Designer of the type Dr \•V.J. Burgers of the Antiquariaat Spinoza, ~Janson". In: The Hungarian Book Review 4 (1984), pp. Amsterdam 8-9- Henri Friedlaender of Jerusalem HOFMA"l'-.::\", HERM,\:>-:;~: Das Haus Berthold. Berlin 1921. Karl Graumann of Miinchen HOl-H.YER, FRlTZ: Deutsche Juden als Bibliophile und Anti Sergio Haberfeld of Toga l.tda, Sao Paulo, Brazil quare. TUbingen 1963. Dr H.]. Katzenstein of Jerusalem HORODlSCH. ABRAH.A:-..1: £in Abenteuer im Geiste- Die Sonci The Klingspor Museum der Stadt Offenbach no-Gesellschaft der Freunde des Ji.idischen Buches. ln: Bi am Main bliotheca Docet- Festgabe fUr Car! Wehmer. Amsterdam Bernd MO!ienstiidt of H. Berthold Systeme, 1963, pp. rSr-208. Taufkirchen HOWE, jUSTE\" and PAVLIXE PAt:CKER: German Jews and Silke Schaeper of the Schocken Institute for Jewish Research the Graphic Arts. In: The Leo Baeck Yearbook 1989, pp. in Jerusalem 443-473- Wolfgang Seidel of Sao Paulo, Brazil Israel Bibliophiles ?-.Te·wsletter, Spring 1984, pp. r-4. Professor Sasson Somekh of Tel Aviv University Osc2r Jolles- Drei Reden zu seinem Gedenken. Hausdruckerei Grzegorz Sov,.-uJa of \1i.ihlheim/Main der H. Berthold AG. Berlin 1929. Gideon Stem of Jerusalem MCLEA~. RUARI: jan Tschichold: Typographer. London 1975, pp.29-30. RoDE?\BERG, jt..:uus: ?\eues aus den Werkstiitten der Schrift gieBereien.ln: GJ 1927, pp. 215-238. Rt.:PI'll', ARTHUR: Soziologie der Juden. Bd JL Berlin 1931, pp.2I0-22I. SHAV!TT, ZOHAR: On the Hebrew Cultural Center in Berlin in the Twenties. In: GJ 1993, pp. 371-380. Soncino-Blatter, Bdl, Berlin 1925. Soncino-Bliitter, Bdll, Berlin 1927. Soncino-Bl3tter, Bd m, Berlin 1930. Soncino-Gesellschaft, Mitgiiederverzeichnis, Berlin 1924. Soncino-N"achrichten, Beilage zu den Sondno-Blattem, Bdl, Berlin 1925-26. SCHO?\FJELD, HUGH J .: The ?\'e>v Hebrew Typography. London 1932- TA~ARl, lTTAl josEPH: Kusari"Hebriiisch - der Anfang einer Druckschrift von Henri Friedlaender und Paul Koch. in: G] 1992, pp. 309-318. Toga - IndUstria de Papeis de Arte Jose Tscherkassky Ltda. Packaging Art and Technique of a ?\ation. Sao Paulo 1985. TSCHERKASSKY, jOSEPH: Katalog Hebriiischer und ]tidischer Schriften der SchriftgieBerel H. Berth old .A. G. Berlin 1924. TSCHERKASSKY, jOSEPH: Katalog Arabischer Schriften der SchriftgieBerei H. Berth old A.G Berlin 1925. TSCHERK.'\SSKY, )OSEPH: Magere Stam, Rambam, Rahei. SchriftgieBerei H .Berthold A.G. Berlin nd.