The University of Sydney Library’s Rare Books & Special Collections is pleased to bring you a new exhibition: a collection of bookplates drawn from the Colin Berckelman Personal Papers Collection. The physical display can be found on Level 4, Fisher Library, but you can also view the exhibition online, in the post below.

‘The Beautiful, Artistic, and Quaint’: International Connectivity and 20th Century Bookplates

Curated by Finlay MacKenzie, Master of Museum and Heritage Studies, University of Sydney

From 14^th century BCE Egypt onwards, people have marked books as their own by furnishing them with bookplates, or decorative labels. While the use of bookplates fell in and out of fashion over subsequent centuries, the peak of bookplate production and ownership in the early- to mid-20^th century saw these ‘beautiful, artistic, and quaint’ items reach an unprecedented level of popularity and accessibility. Along with this rise in prominence came the practice of collecting and exchanging bookplates belonging to others, reflecting an ever more globalised and connected world. Societies were formed, exhibitions held, and global exchange networks established as people traded duplicate bookplates in their own collections for more elusive or desirable designs.

The Berckelman Collection, amassed by the Sydney-based bibliophile Colin Berckelman from the early 1900s until his death in the 1960s, gives a rich glimpse into the lively world of bookplate collection in the early- to mid-20th century. As an active collector and member of several Australian and international bookplate societies, Colin Berckelman gathered bookplates from across the world through correspondence and travel. The variety of bookplates he collected and the stories they brought with them speak to the level of international communication and connection which existed at this time, and Australia’s position within a global network of artists, collectors, and book-lovers.

Bookplates in Australia

The emerging international craze for bookplate production, use, and collection in the early 20^th century quickly reached Australia. Numerous local, regional, and national bookplate societies were established, and the work of Australian bookplate designers was sought not only by Australian collectors but by bookplate enthusiasts overseas. The surviving material paints a picture of a thriving and colourful world of collecting which established itself in bookstores, meeting-rooms, and mailing lists.

Like many collectors of books and bookplates, Colin Berckelman made use of several personal bookplate designs throughout his life, employing them at different times or for different literary genres. This design, created in 1930, may have been a favourite of his, as he appears to have used and reproduced it extensively, and likely sent copies to other collectors both within and outside Australia.

This early- to mid-20^th century pamphlet by P. Neville Barnett, a noted Australian author on the subject of bookplates, describes the shift of bookplate artistry in the late 19^th to early 20^th centuries. As acceptable imagery began to extend beyond heraldic designs, he describes the ‘beautiful, artistic, and quaint’ bookplate designs of the period as responsible for their greater accessibility, and hence their increased popularity. He attributes the popularity of bookplates in Australia to the high quality of Australian bookplate artists, many of whom were women. Notably, he observes that Australian bookplate societies attracted members not only from Australia and New Zealand but from around the world.

This letter, written by the managing director of a London metalworking company to the Sydney Bookplate Society, illustrates the appeal which Australian bookplate-collecting circles held for international bookplate enthusiasts. In the letter, Herbert Wauthier describes his expectation of exchanging high-quality bookplates with Australian collectors, and offers to produce bookplate designs in exchange for membership. His letter also illustrates the difficulties which could be experienced in international communication during this period – he expresses a concern that he may not be able to pay his membership fee due to currency regulations!

International bookplates in Australia

Through personal correspondence and society membership, large numbers of bookplates produced internationally were sent to Australia. Colin Berckelman received many such bookplates through various means, whether from bookplate enthusiasts overseas or from other Australians who had collected them. The variety of designs show the increased freedom of acceptable bookplate imagery, and the ways in which bookplates could be adapted to reflect local tastes. Furthermore, the correspondence which accompanied these bookplates demonstrates the enthusiasm for people in the early- to mid-20^th century to establish international connections and exchange networks.

Although the provenance of bookplates in Colin Berckelman’s collection is not always recorded, the diversity of names and scripts suggests their places of origin. It is unknown whether this group was collated by an international or an Australian collector. However, an assemblage of bookplates like these shows how bookplates from various sources could be distributed together, increasing the reach of international exchange.

Whilst most of Colin Berckelman’s bookplate collection originated from Australia, America, or Europe, some examples also illustrate the presence of bookplate production and exchange in Asia. The Japanese bookplates in this scrapbook show the adaptation of the bookplate format according to local Japanese aesthetics and artistic styles. Whether they were acquired through correspondence or during a visit to Japan, these bookplates highlight the breadth of bookplate-collecting networks, and the ability of such simple items to bring together people from across the world.

Bookplate exhibitions were relatively common in the early- to mid-20^th century, with bookplates from various artists, owners, or collectors being brought together for display. This catalogue is from an exhibition held in Los Angeles, which displayed the work of bookplate artists from various countries. Represented countries were primarily located in Europe or were European colonies, such as Italy, Java, Latvia, and the Netherlands. In accordance with this, Australian bookplates were featured in the exhibition, with bookplates by famous Australian bookplate artists being displayed.

Sending bookplates overseas

Bookplate collectors seeking to expand their own collections and exchange bookplates with others often turned to the mailing lists of bookplate societies, where members could list their details and addresses in the hopes of receiving correspondence. Colin Berckelman’s collection includes a large number of letters and attached bookplates sent to him by fellow international collectors, many of whom located him through such mailing lists. These letters show the range of his personal correspondence, and the diversity of people who could be connected through the practice of bookplate collecting.

Women were involved not only in the creation of bookplate designs, but also in the collecting and exchange of bookplates themselves. The owner of this bookplate, Miss Gertrude Morgan Hawley of New York, discovered Colin Berckelman through an exchange list of bookplate collectors, and wrote to him requesting examples of Australian woodcut designs. Her references to the artists Adrian Feint and Lionel Lindsay indicate the regard with which some Australian artists were held in bookplate-collecting circles internationally.

A bookplate collector from Lisbon, Manuel A. Ortiz, sent these bookplates to Colin Berckelman alongside a letter addressed to the American Society of Bookplate Collectors and Designers and the Australian ExLibris Society. In the letter, he describes his interest in bookplates from the United States, and asks the recipient to send him American bookplates in return for the Portuguese bookplates he has attached. While he does not seem to have been acquainted with either society before writing this letter, they presumably seemed to him to be accessible sources of bookplates, indicating the significance of Australian bookplate collectors in international exchange.

In some cases, bookplate collectors looking to exchange bookplates with collectors from other countries encountered language barriers. When this occurred, pre-written letters in an established format could be used to communicate requests, with space for the sender to write in how many bookplates they were sending or wished to receive. This example, sent to Colin Berckelman by the Czechoslovakian bookplate designer and collector Ctibor Šťastný, delivers its message not only in the standard languages of German, French, and English, but also in Czech and the constructed international language Esperanto. It accompanied a selection of Czech bookplates designed either for or by Šťastný, with their varying designs including an owl in an art deco style, a relatively standard depiction of books and a candle, and a praying mantis with a Portuguese slogan.

In the modern world of rapid and extensive interconnectivity, it is easy to imagine the world of the past as slower-paced and far less open. However, the picture painted by Colin Berckelman’s bookplate collection is vastly different. Despite the issues of language barriers or currency restrictions which could arise, communities such as bookplate collectors found ways of corresponding and sharing their interest, whether through travel to attend international exhibitions, writing to collectors in other countries, or simply obtaining internationally-produced bookplates from collectors closer to home. It is perhaps surprising that such a small and incongruous object as a bookplate should have attracted so much attention from so many people. But bookplates could easily be viewed as emblematic of a new and modern world in the early- to mid-20^th century – a world which brought together people from across the globe in a shared enthusiasm for the ‘beautiful, artistic, and quaint’.

All material in this online exhibition is drawn from the Colin Berckelman Personal Papers Collection. Colin Blake Berckelman (1907-1965) was an Australian bibliophile, author, amateur photographer, and collector of material relating to books, bookplates, and printing material. The collection encompasses a broad ranger of topics, particularly relating to Australian social history, including politics, business and commerce, early settlement history, architecture, literature, and the arts. Following Berckelman’s death in 1965, the collection was acquired by the University of Sydney Library. It is now held by the University of Sydney Library’s Rare Books and Special Collections. The physical display of this exhibition can be found on Level 4, Fisher Library.