The discovery of multiple U.S. directory and trade references to Bernard Loewensohn and the Kipp Brothers offers new insight into Loewensohn’s American activities and the possible distribution network for his movable books in the United States. A snippet from The Directory of the City of New York for 1870 (p. 723) records Loewensohn, Bernard — lithographer, 35 Maiden Lane; h. 641 E. 16th, placing him in New York as early as 1870. Just two years later, in 1872, the same address appears under the name Kipp & Loewensohn, lithographers, 35 Maiden Lane, with William A. Kipp also listed as a lithographer at that location. This transition from a sole listing to a formal partnership suggests that Loewensohn had entered into a business relationship with the Kipp family, likely to support the printing, importing, or distribution of illustrated materials — including movable picture books — in the American market.

By the 1880s, the Kipp family business had grown far beyond its lithographic beginnings. In 1880, Kipp Brothers Co. was incorporated in Indianapolis by Albrecht and Robert Kipp as large-scale importers and jobbers of toys, novelties, fancy goods, stationery, and related items — precisely the types of products among which movable books were marketed. Trade sources note that Albrecht Kipp had been “identified with the line since 1867,” aligning with the period of the Loewensohn partnership in New York. Their distribution network soon expanded across the Midwest and South, with branches in Louisville and Dallas and trade reaching states such as Indiana, Illinois, Missouri, Kansas, Texas, Iowa, Nebraska, and Kentucky.

Evidence of ongoing ties between the Indianapolis firm and the New York trade continued into the 1890s. A report in The American Stationer (Vol. 28, 1890, p. 944) notes that Mr. Kipp of Kipp Brothers, Indianapolis, visited New York that year for the first time in about a decade, “looking for the old timers in the toy line.” This suggests his previous business visits occurred around 1880 — precisely when the Indianapolis company was incorporated — and that the firm maintained active links with its earlier New York network.

Taken together, these records support the view that Bernard Loewensohn’s presence in the United States and his partnership with the Kipp Brothers were part of a larger strategy to print, import, and distribute movable books and illustrated novelties in the American market. The evidence indicates that Loewensohn’s activities were not limited to his Fürth publishing house but extended into transatlantic collaboration, with the Kipp Brothers serving as key partners in bringing European movable books into the U.S. trade.

On August 21, 1882, he married Rosa (Rosie) Stockheim (1862–1934) in Mannheim, daughter of the Jewish wine merchant Max Stockheim (1835–1906) and Sophie Kiefe (1838–1904). The couple had three children: Gustav (1883–1943), Johanna (1886–1934), and Robert (1895–1945). The family’s first residence was on the second floor of Blumenstraße 15, directly above the factory premises.

Theodor gained prominence not only as an industrialist but also as a civic benefactor. In 1894, he and Bernhard endowed the Bernhard Löwensohn’sche Workers’ Foundation with 15,000 marks each to provide support for the families of their employees. He continued this philanthropic tradition throughout his career, donating large sums for charitable and welfare causes, particularly during the First World War.

By 1914, Theodor was listed in the Yearbook of the Wealth and Income of Millionaires in Bavaria with an estimated fortune of 1–2 million gold marks (equivalent to 8–19 million euros today). Despite this wealth, he gave generously to institutions across Fürth. His obituary later praised him as “one of the city’s leading and most respected industrialists and well-known citizens… He donated and raised very substantial sums for wartime welfare purposes of all kinds, including, most notably, Christmas gifts for war children.”

In July 1919, on the probable occasion of the company’s 75th anniversary, Theodor transferred his remaining shares of the family firm to his youngest son Robert, retaining only the honorary role of senior partner. Thereafter, he dedicated himself primarily to overseeing his numerous charitable foundations.

Theodor died on April 10, 1931, at the age of 78. After cremation at the Nuremberg West Cemetery, his ashes were interred in the urn field of the New Jewish Cemetery in Fürth. His life and career epitomized the Löwensohn family’s dual legacy as industrial leaders and civic philanthropists.

About Albert: Albert Rosenfelder (1864–1916), born Abraham Hirsch Rosenfelder, was the only son of Fürth merchant Emanuel Rosenfelder (1827–1866) and Berta Heim (1829–1916). After completing a year of voluntary military service with the 14th Bavarian Infantry Regiment in 1883–84, he entered the Jewish toy and games factory L. Kleefeld & Co., founded in Fürth in 1884 by his half-brother Ludwig Kleefeld with support from the Löwensohn family. The firm specialized in the production of board, card, and other printed games, with much of the lithographic work supplied by the Löwensohn factory.

In 1888 Albert formally joined the Kleefeld company, and just two years later, in 1890, he invested 100,000 gold marks to become the third partner in the Löwensohn Picture-Book Factory (Lithographische Kunstanstalt G. Löwensohn), alongside Bernhard and Theodor Löwensohn. This investment marked the transition of the enterprise into a general partnership, solidifying its role as one of Germany’s foremost producers of children’s picture books, games, and mechanical movables.

On August 28, 1893, Albert married Dora Heim (1872–1958) in Heidelberg, the daughter of Kommerzienrat Albert Felix Heim (1839–1904), a wool merchant and banker, and Emma Stockheim (1850–1922). The couple established themselves in Fürth and had three children: Johanna Gertrud (1898–1995), Lisbeth (1907–1907), and Ernst (1894–1976).

Albert became a central figure in the expanding business empire of the Löwensohn–Rosenfelder partnership. His business acumen and investment strengthened the factory’s capacity to diversify its output, and his presence symbolized the broader collaboration between two of Fürth’s most prominent Jewish commercial families.

Despite being fifty years old, Albert re-enlisted at the outbreak of the First World War, serving as a first lieutenant with the 21st Bavarian Infantry Regiment. On November 24, 1914, while leading maneuvers at the Hainberg training area near Fürth, he was struck by a fatal gunshot to the head. The incident—described at the time as an “accident”—remains unresolved.

Albert’s funeral became a major public event in Fürth, attended by the city’s mayor Dr. Wild, representatives of the municipal council, the Jewish community, and numerous civic leaders. His death marked not only the loss of a successful industrialist but also of a highly respected patron of Fürth’s public and cultural life.

Growth of the publishing business:

A number of works are executed in the factory.

Trade directories in 1894 such as (Export-Hand-Adressbuch von Deutschland, 1894, p. 374), advertised its “specialty” as producing picture books in all the languages of Europe, along with modeling sheets and paper dolls, underscoring both the firm’s technical versatility and its export ambitions. To support sales abroad, Löwensohn maintained sample collections in Hamburg through the dealer H. M. Strelitz at 52 Alterwall, a strategic location in Germany’s chief port city that allowed international buyers to examine stock without traveling to Bavaria.

The Löwensohn family's remarkable generosity is reflected through their numerous charitable efforts. They established foundations to support causes such as infant care, tuberculosis treatment for children, and assistance for disabled veterans, widows, and orphans. Notable donations were made to local institutions, including the Maternity Hospital and the Municipal Theater in Fürth.

In 1891, Theodor Löwensohn, on behalf of his wife Rosie, gifted the town of Cadolzburg with a Forest School for convalescent children, a project that continued to grow with further donations. The family also founded workers' foundations to provide financial aid to their employees and their families, ensuring support in times of need. Additionally, the Löwensohns contributed to numerous local clubs, associations, and initiatives aimed at improving community welfare.

Their philanthropy was so impactful that a street in Fürth was named Löwensohnstraße in their honor, recognizing the lasting influence of their contributions.

“The name Löwensohn has long had a good reputation in Fürth. Like his ancestors, Kommerzienrat Löwensohn also earned outstanding services to his hometown as a hard-working supporter of all charitable events and institutions… The Fürth Adult Education Association values him as its intellectually active second chairman, and many of our social welfare organizations know of his willingness to volunteer his time, even if without much publicity.”

A highly educated and kind man, Gustav organized lectures, invited leading intellectuals to his villa on Forsthausstraße, and was admired as a gifted Goethe expert.

On June 14, 1919, Robert married Ella-Ruth Mündheim (1895–1942) in Würzburg, the daughter of Swedish-born ophthalmologist Dr. Max Mündheim. The couple had three children: Anne-Marie (1920–2015), Hans Felix (1922–1923), and Gerhard (1926–2013). They first lived at Königswarterstraße 56 in Fürth before moving in 1928 to a villa at Bismarckstraße 25 in the city’s Dambach district.

On December 29, 1920, Ernst married Elisabeth Dormitzer (1899–1979), daughter of the Nuremberg lawyer Sigmund Dormitzer (1869–1944) and writer Else Dormitzer, née Forchheimer (1877–1958). The couple settled at Hornschuchpromenade 44 and had two children: Dora (1922–2016) and Albert Georg (b. 1925), who later adopted the name George Rogers.

With the outbreak of the Second World War in 1939, Ernst, like many Jews of German or Austrian origin living in Britain, was interned on the Isle of Man. His confinement was brief—just nine weeks—due to poor health. After release he re-established himself in London, where he became responsible for distributing Pestalozzi Verlag’s children’s books throughout the English-speaking world. To manage this, he created Brimax Books Ltd., a brand dedicated to English-language editions. Around 1970, his son George Rogers joined him in the business, continuing the family’s involvement in publishing.

Ernst Rosenfelder died in August 1976 in London.

After World War I, Germany's toy and children's book industries faced significant challenges. Restrictions on raw materials and a reduced workforce made production increasingly difficult. The political instability and social upheaval following the collapse of the previous regime further complicated the situation, worsened by the rampant inflation that plagued the country. Many nations, particularly the United States—whose economy had strengthened during the war—imposed high import tariffs to protect their emerging toy and publishing industries. For Germany, whose toy manufacturing sector heavily relied on exports, these trade barriers presented considerable obstacles throughout the 1920s.

According to the Papier-Adreßbuch von Deutschland, vol. 6 (1921), p. 209, the Fürth firm G. Löwensohn was listed as an art-lithographic establishment, printing works, bookshop, and publishing house founded in 1844. At that time it was operated by Kommerzienrat Theodor Löwensohn, Ernst Rosenfelder, and Gustav Löwensohn, employing around 200 workers and equipped with a 25-horsepower engine, nine lithographic presses, a high-speed book press, and numerous auxiliary machines.

There is a British patent specification (No. 289,615, filed March 31, 1927, published 1928) for a movable/novelty book design by the firm G. Löwensohn, Fürth.:
This patent shows that in 1927–28, Gustav & Robert Löwensohn and Ernst Rosenfelder were still producing cutting-edge movable picture books, protecting their designs internationally, and operating as a prominent export house. This 1927/28 patent is one of the last known innovative movables filed under the Löwensohn name before the Nazi rise to power and the firm’s Aryanization/sale in 1937.

In response to fierce competition, German producers sought to expand both domestically and internationally. This led to a period of streamlining and consolidation within the industry. The Löwensohn family renamed their company Pestalozzi-Verlag around 1929, as a response to growing anti-Semitic pressures in Germany during the Nazi regime. The renaming was a strategic attempt to present a less overtly Jewish name. The family's company had already begun consolidating and seeking to expand its reach domestically and internationally due to fierce competition in the publishing industry during the 1920s.

Gustav Löwensohn initially managed the newly renamed Pestalozzi-Verlag, but as the situation for Jewish business owners worsened under the Nazi regime, Emil Franke (1907-1984) took over management in 1933 when the company was restructured and renamed Pestalozzi-Verlag, Graphische Gesellschaft mit beschränkter Haftung. This was part of broader efforts to shield the company from overt Jewish associations. Despite this, the Löwensohn family was eventually forced to sell the business in 1937 to Kunstanstalten May AG in Dresden.

In 1929, Robert Löwensohn and his cousin Ernst Rosenfelder, together with the Montreuil printer Louis Vilette, established BIAS Verlag GmbH in Fürth as a subsidiary of the long-standing Löwensohn picture-book factory. The name BIAS derived from its programmatic motto, Bilderbücher In Allen Sprachen (“Picture Books in All Languages”), a phrase that perfectly captured the company’s ambition to export lavishly illustrated children’s books in multiple languages across Europe and beyond. A Paris branch was opened soon after, providing direct access to the French and Belgian popular-imagery trade and facilitating the firm’s orientation toward multilingual production and international distribution.

By 1933, BIAS distinguished itself by adopting non-traditional sales channels, offering inexpensive color picture books through kiosks, haberdasheries, and other points of mass distribution rather than limiting sales to conventional bookshops. Roughly half of its list came directly from the resources of the parent firm G. Löwensohn—renamed Pestalozzi Verlag in 1935—while the other half was commissioned from outside illustrators and publishers, including René Touret, A. Capendu, and the Belgian Gordinne/Chagor editions, all well known in the European market for popular and mechanically inventive imagery. In this way, BIAS operated as both a channel for exporting Fürth’s productions and as a cosmopolitan clearing-house for illustrated works from across the continent.

Although both Pestalozzi and BIAS specialized in picture books, their strategies diverged. Pestalozzi emphasized the domestic and educational market within Germany, while BIAS explicitly cultivated a multilingual export identity, trading under its motto “Picture Books in All Languages.” This distinction became all the more stark after 1937, when the parent company was Aryanized and the Löwensohn family partners were forced into exile. In 1941, amid intensifying persecution, Louis Vilette became majority shareholder of the French branch, reorganizing it as the Société nouvelle des Éditions Bias—a legal maneuver that allowed the imprint to survive the war even after Robert Löwensohn’s arrest and deportation.

Following the war, the firm continued under French control. Surviving heirs of the Löwensohn and Rosenfelder families were able to assert a minority restitution claim, but by 1950 the family withdrew entirely from Éditions Bias, ending their direct connection with the company. From that point onward, Bias was managed by Jean and Georges Lauvaux, nephews of Vilette, who expanded the catalogue for schools and popular readership. Despite these efforts, Bias remained a medium-sized house with limited capital, and it struggled to compete in the highly regulated postwar youth literature market under the 1949 law on publications for young people. In 1971 the Lauvaux brothers formally assumed control; later, in 1989, Bias was acquired by Éditions Milan, with its publications ceasing entirely in the early 1990s.

Despite the successes achieved during this period, the prosperity of the Loewensohn Family would be short-lived............

With the rise of the National Socialists in 1933, the Jewish-owned G. Löwensohn picture-book factory entered a period of severe hardship. According to his niece, Anne-Marie Vitkine (1920–2015), while serving as chairman of the Association of German Picture Book Publishers and Manufacturers Gustav traveled to Berlin to petition the Reich Ministry for permission for Jewish publishers to continue their work. She recalled that these firms exported widely and earned valuable foreign currency for the German state, which the authorities were reluctant to forgo. Yet after nearly two years of postponement, the regime ultimately extended its bans to include this profession as well, forcing Jewish publishers out entirely.

On December 1, 1937, Gustav and Robert Löwensohn were forced to sell the firm to Kunstanstalten May (KAMAG) of Dresden. Although the business was valued at 571,290 Reichsmarks, the family received only about five percent of the proceeds, while the Nazi regime confiscated the remainder. This compulsory transfer was a textbook case of “Aryanization”—the coerced handover of Jewish-owned enterprises to non-Jewish proprietors under the Third Reich.

Founded in 1882 by Friedrich Adolf May, KAMAG was a prominent publisher of fine art prints, postcards, and illustrated materials, sometimes referred to informally as the “May Art Institute.” By the late 1930s it served as a typical Aryanization vehicle, absorbing Jewish printing and publishing houses across Franconia. In Fürth, KAMAG simply took over the infrastructure, equipment, workforce, and product lines developed by the Löwensohns, while the family was stripped of both ownership and profit.

The sale took place only two years after the Nazi regime formally prohibited Jews from working in or owning printing and publishing businesses. In this context, the loss of the Löwensohn company in 1937 was not a business transaction but a state-engineered expropriation, emblematic of the broader campaign to eliminate Jewish participation in German cultural and economic life. Adding to the tragedy, the Forest School and Colony—a centerpiece of the family’s philanthropy—was seized and repurposed as a Nazi training camp, erasing one of their most visible contributions to the community.

In 1937, after the forced sale of the family business, Gustav LöwensohnGustav fled Germany with his wife Emmy , their daughter Dora, her husband Walter Kohn, and grandchildren Herbert (b. 1938) and Annette (b. ca. 1935) first to the Netherlands and later to Belgium, hoping to rebuild a safe life abroad. That fragile security ended on July 31, 1943, when he was arrested in Brussels for the simple act of riding a tram forbidden to Jews. He was deported to Auschwitz, the most infamous of Hitler’s concentration and extermination camps. While imprisoned there, Gustav was forced to serve as an interpreter for the camp commander, exploiting his foreign language skills. Ultimately, he lost his life in Auschwitz, with his death officially recorded in 1945. His story stands as a stark reminder of the brutal realities Jews and other targeted groups faced under the Nazi regime. Emmy Löwensohn survived and then emigrated from Belgium with Dora, Walter, Herbert, and Annette to the United States. Gustav Löwensohn’s wife Emmy and their younger daughter Dora (1911–1976) both survived the Holocaust. After the war they emigrated to the United States, where Dora raised her family. She had married Walter Kohn, and together they brought their two children, Herbert "Herb" (b. 1938) and Annette (b.1934), to safety in America. In contrast, Gustav’s elder daughter Lilli (1908–1940) was killed in London during the Blitz, the devastating bombing campaign carried out by the German Luftwaffe. Consequently, all of Gustav’s surviving descendants descend from Dora’s branch, which established itself in the United States after 1945.

Gustav’s younger brother, Robert Löwensohn, and Robert’s wife Ella Ruth (née Mündheim, 1895–1944) initially fled to France with their two children, Anne-Marie (b. 1920) and Gérard (b. 1926), as Nazi persecution of Jewish publishers intensified in Germany. They settled in Paris, where Robert attempted to continue his work in publishing through the French branch of BIAS, in partnership with Louis Villette. Their reprieve was temporary. During the German occupation of France, both Robert and Ella were arrested and deported back east.

Ella Ruth was sent to Auschwitz (KZ Auschwitz-Birkenau, Oświęcim County, Lesser Poland Voivodeship), where she was murdered shortly after arrival in 1944. Robert, meanwhile, was assigned to forced labor at Blechhammer, an industrial subcamp of Auschwitz where prisoners were exploited in the construction of synthetic fuel plants. Conditions were brutal, with extreme cold, starvation, and rampant disease. In January 1945, as Soviet forces advanced, the camp was evacuated; Robert perished during the ensuing death marches, when thousands of weakened prisoners were driven westward on foot under deadly conditions.

The family’s third partner, Ernst Rosenfelder, was the only one to survive. When war broke out in 1939, Ernst —like many Jews of German or Austrian origin living in Britain—was placed in internment on the Isle of Man. Owing to his fragile health, he was granted release after only nine weeks..From 1937, obtaining passports was the family’s greatest challenge.The Rosenfelder family had managed to leave Germany for the United Kingdom in the summer of 1938 Those who received them often had to leave quickly, even without relatives. After the war, Ernst began to rebuild his professional life in London, where he re-established himself in publishing and carried forward what little remained of the legacy of the Fürth picture-book factory. After the war he pursued restitution claims and eventually received partial compensation for the 1937 Aryanization of the factory. Operating from his London office, Ernst Rosenfelder oversaw the distribution of Pestalozzi Publishing’s children’s books throughout the English-speaking world under the imprint Brimax Books Ltd., a company created specifically for this purpose. Around 1970, his son George Rogers entered the business, continuing the family involvement. He Died in London in 1976.

Robert and Ella Ruth Löwensohn’s two children, Anne-Marie (1920–1998) and Gérard (1926 -2013), were not deported to Germany. In May 1940, Anne-Marie was interned at the Gurs camp in the Pyrénées following the German invasion of France. Released in August 1940, she later recalled in her memoirs how profoundly the experience shaped her political outlook and relationship with France. Robert himself was briefly interned but secured release and rejoined his family in Paris, which helped prevent the collapse of BIAS Verlag during the war years. Gérard, still a child, spent much of the occupation hidden with relatives and family friends in the unoccupied Zone Sud, including periods in Montpellier and near Lyon, sheltered by the Haas family and supported by the aid of clergy such as Father Chaine. Both siblings survived the war and remained in France, where they lived out their lives. In early 1961 Gérard re-entered the publishing field by founding Pestalozzi France, which separated children’s book publishing from giftware and novelty distribution. This firm, run jointly with his wife Nicole under the name GENI (from “Gérard–Nicole”), represented the French arm of Pestalozzi Verlag. Gérard closed Pestalozzi France in 1983, continuing only as the French representative of Pestalozzi Verlag until his retirement in 1996.

Anne-Marie later reflected in her autobiographical writings (posted online in 2002) that Gérard, as the only male heir, had been destined to take over the Löwensohn publishing business—had Hitler’s policies not destroyed the family firm and dispersed its members.

We have a couple of unusual Löwensohn English titles in our collection. One is an 1883 Löwensohn slot movable entitled "Fairy Tales For Children". The title page says “Transform Pictures” The tab pulls the slots to reveal a different image within the picture. G.M. Thurnauer was an importer and distributor based in New York during the late 19th century. His company, G.M. Thurnauer & Bro., was instrumental in bringing various European products, including movable books, to the American market.

According to the August 2007 Movable Book Society Newsletter, another series published by Löwensohn was the Theatrical Picture Books published in several languages. They are relatively rare. Below are images from our copy of Too Much Talking is Hurtful (Little Red Riding Hood). It was published in 1883 along with 3 others, A Rare Cat (Puss in Boots), Awake ( Sleeping Beauty) and Poor Robinson ( Robinson Crusoe). Our English copy has what looks like a Löwensohn imprint, but it is too small and faded for us to read.

B

Below are images for Löwensohn's Circ: 1880 grand first edition Theater Bilderbuch with all 4 scenes in one book:
The 4 scenes are "Robinson Crusoe", "Puss in Boots", "Little Red Riding Hood" and "Sleeping Beauty"
(Der arme Robinson , Der gestiefelte Kater , Rothkäppchen und Dornröschen)
*Ries cites from Russell (1881, vol. 4, col. 542 and 1894, vol. 16, col. 5318)
(Thank you Cherie, a collector from South Africa, for providing these images)

We also have seen several copies of Löwensohn movables from the 20s and 30s in various languages that include books with vovelles as well as pop-up type books where a child can cut out pictures and stand them up. Some of these include The Traffic Light Book ( Vovelle, cut-outs) and The Home Farm and Around The World which include tabbed cut-outs that you can stand up to make scenes, and La Ronde Des Saisons Almanach des tout petits a( book with a turning vovelle cover showing scenes for each month – circa 1920) (shown below).



More Movable Book titles:
Several movable book titles are listed under the heading G. Löwensohn in Fürth in Adolph Russell’s Buch- und Kunst-Katalog (Vol. 16, 1894, p. 5313; see also Vol. IV, p. 538)
From https://www.google.com/books/edition/Buch_und_kun...

These trade listings from Adolph Russell’s Buch- und Kunst-Katalog are contemporary publishing records — direct proof of the titles Löwensohn issued, with prices, formats, and variants. Until now, scholarship has largely relied on scattered copies in libraries and archives, without a master list.

The numbers in parentheses (e.g., 504, 535, 579B, 621, 688) are not random; they’re publisher’s stock/catalogue numbers. In the 19th-century German book trade. Firms like Löwensohn, Schreiber, and Nister often assigned continuous issue numbers to every title (including games, picture books, and movables). These numbers appeared in trade catalogues (like Russell’s) and sometimes on the actual books — either on the back wrapper, last page, or even hidden in the lithographer’s imprint. When exported, the publisher’s mark could be dropped, but the stock number often stayed, because printers needed it for warehouse and reordering systems.

This could be a huge tool for attribution, because The numbers are unique within their catalogue; if we can match an anonymous book with a catalog number, we can pin it directly to Löwensohn. It explains why many “orphaned” German movables in U.S./U.K. collections only carry a number — the publisher info was intentionally suppressed for export, but the numbering system was still required. We may now have a way to positively identify unmarked movables floating around the market or in collections.

250.
Zieh- u. Verwandlungsbilderbücher. 11 Ausg. (250.) o. S. (à 6 Bilder in Farbenbd.) gr. 4º. geb. à 2 M.
→ Pull-tab and transformation picture books. 11 editions. (No. 250.) undated. Each with 6 colored plates. Large quarto. Bound. 2 Marks each.

250B.
Ziehbilderbücher. 4 Ausg. (250B.) o. S. (à 4 Ziehbilder.) gr. 4º. geb. à 1 M. 20 Pf.
→ Pull-picture books. 4 editions. (No. 250B.) undated. Each with 4 pull-tab pictures. Large quarto. Bound. 1 Mark 20 Pf.

291.
Theaterbilderbuch. (291.) o. J. (4 aufstellbare Tischbilder in Farben m. 4 Bl. Text.) gr. 4º. geb. à 3 M.
→ Theater picture book. (No. 291.) undated. (4 stand-up table pictures in color with 4 leaves of text.) Large quarto. Bound. 3 Marks.

306.
für brave Kinder. (306.) o. J. (12 Abl.-Bilder m. je 4 Darstellungen u. kleinem Verschen.) gr. 8º. 50 Pf.
→ For good children. (No. 306.) undated. (12 pull-tab pictures with 4 scenes each and small verses.) Large octavo. 50 Pf.

319.
Ziehbilder, Lustiges. (319.) o. 3. (4 beweg. Humor-Bilder mit 4 Bl. Text.) gr. 4º. geb. 60 Pf.
→ Funny pull-pictures. (No. 319.) 3rd edition. (4 humorous movable pictures with 4 leaves of text.) Large quarto. Bound. 60 Pf.

352.
Kasperletheater, Neues. (352.) o. J. (4 Bl. z. Aufstellen m. 4 G. Text.) gr. 4º. geb. 2 M.
→ New Punch and Judy Theater. (No. 352.) undated. (4 sheets to set up with text.) Large quarto. Bound. 2 Marks.

352B.
Struwwelpeter-Theater. (352B.) o. J. (1 Bl. m. Aufstellen u. 1 G. Text.) gr. 4º. geb. 2 M.
→ Struwwelpeter Theater. (No. 352B.) undated. (1 sheet with set-up and 1 leaf of text.) Large quarto. Bound. 2 Marks.

355.
Verwandlungs-ABC, Der Kinder. (355.) o. J. (6 Abc-Bilder u. Verwandlungen.) hoch 4º. geb. 60 Pf.
→ Transforming ABC for Children. (No. 355.) undated. (6 alphabet pictures with transformations.) Tall quarto. Bound. 60 Pf.

376.
Ziehbilder. (376.) o. J. (12 Bog. 4º.) in Mappe 50 Pf.
→ Pull-pictures. (No. 376.) undated. (12 sheets, quarto.) In portfolio. 50 Pf.

382.
Aufstellbilder. (382.) o. J. (6 Bilder m. Text.) gr. 4º. 50 Pf.
→ Stand-up pictures. (No. 382.) undated. (6 pictures with text.) Large quarto. 50 Pf.

388.
Klapphorn-Bilderbuch. Doppelbilderbuch. (388.) o. J. (16 Bilder im Versen.) qu. 4º. — à 40 Pf. geb. à 20 Pf.
→ Klapphorn Picture Book. Double picture book. (No. 388.) undated. (16 pictures in verse.) Quarto. Price 40 Pf; bound 20 Pf.

398.
Sonntagsbilder, Ver., u. andere lebendige Bilder. (398.) o. J. (6 Ziehbilder.) geb. 2 M. 50 Pf.
→ Sunday pictures and other living pictures. (No. 398.) undated. (6 pull-tab pictures.) Bound. 2 Marks 50 Pf.

501.
Ziehbilderbuch. (501.) o. J. (5 Bilder m. Versen.) 8º. — 10 Pf.
→ Pull-picture book. (No. 501.) undated. (5 pictures with verses.) Octavo. 10 Pf.
(also listed as Verwandlungsbilderbuch in some catalogues).

504.
Ziehbilderbuch, Neues. (504.) o. S. (4 beweg. Bilder.) gr. 4º. — 60 Pf.
→ New pull-picture book. (No. 504.) without text. (4 movable pictures.) Large quarto. 60 Pf.

505.
Ziehbilderbuch. (505.) o. S. (6 beweg. Bilder.) gr. 4º. geb. 1 M.
→ Pull-picture book. (No. 505.) without text. (6 movable pictures.) Large quarto. Bound. 1 Mark.

534.
Ziehbilderbuch, Neues. (534.) o. J. (8 Bl. mit beweg. Fig. u. Verschen.) gr. 4º. geb. 40 Pf.
→ New pull-picture book. (No. 534.) undated. (8 leaves with movable figures and verses.) Large quarto. Bound. 40 Pf.

535.
Kasperltheater, Das lustige. Ziehbilderbuch. (535.) o. J. (6 Bilder m. beweg. Fig.) gr. 4º. geb. 1 M. 50 Pf.
→ Funny Kasperl Theater. Pull-picture book. (No. 535.) undated. (6 pictures with movable figures.) Large quarto. Bound. 1 M 50 Pf.

537B.
Ziehbilderbuch, „Allerlei sehr hübsches.“ (537B.) o. J. (10 Bilder, theils m. Verschen.) gr. 4º. geb. 20 Pf.
→ Pull-picture book, “All kinds of very pretty.” (No. 537B.) undated. (10 pictures, partly with verses.) Large quarto. Bound. 20 Pf.

561.
Ziehbilderbuch. (561.) o. J. (6 Bilder m. Versen.) gr. 4º.
→ Pull-picture book. (No. 561.) undated. (6 pictures with verses.) Large quarto.

565.
Verwandlungs-Bilderbuch, Neues. (565.) o. J. (5 Verwandlungsbilder m. Text.) 8º. — geb. 50 Pf.
→ New transformation picture book. (No. 565.) undated. (5 transformation pictures with text.) Octavo. Bound. 50 Pf.

579B.
Lieblingsthiere, Des Kindes. (579B.) o. J. (12 gr. Ziehbilder.) Fol. à 1 M. 20 Pf.
→ Favorite animals of the child. (No. 579B.) undated. (12 large pull-tab pictures.) Folio. Each 1 M 20 Pf.

603.
Neues, m. 4 beweg. Bildern: 1. Der kleine Reiter. 2. Die alte Schachtel. 3. Frau, schau, wem? 4. Sommerlust. (603.) o. S. (4 Bl.) gr. 4º. 1 M.
→ New, with 4 movable pictures: 1. The little rider. 2. The old box. 3. Lady, look whom? 4. Summer joy. (No. 603.) without text. (4 plates.) Large quarto. 1 M.

607.
Hans, wie er meint u. lacht. Ziehbilderbuch. (607.) o. S. (4 Taf.) gr. 4º. — 60 Pf.
→ Hans, how he thinks and laughs. Pull-picture book. (No. 607.) without text. (4 plates.) Large quarto. 60 Pf.

621.
Abc-Buch. (621.) o. J. (24 fein color. Bilder auf Carton, zweiseit. gedr.) gr. 4º. geb. 1 M. 20 Pf.
→ ABC book. (No. 621.) undated. (24 finely colored pictures on cardboard, printed on both sides.) Quarto. Bound. 1 M 20 Pf.

635.
Abc-Räthselbuch. (635.) o. J. (12 Bilder.) 30 Pf.
→ ABC puzzle book. (No. 635.) undated. (12 pictures.) 30 Pf.

664.
Ziehbilderbuch. 4 Ausg. (664.) o. J. (à Zeit, beim m. Bildern u. Verschen.) gr. 4º. geb. 40 Pf.
→ Pull-picture book, 4th edition. (No. 664.) undated. (with pictures and verses.) Large quarto. Bound. 40 Pf.

673.
Lieblinge, Des Kindes. Aufstellbilderbuch. (673.) o. J. (8 Taf. m. lad. Bildern.) qu. 4º. 70 Pf.
→ Child’s favorites. Pop-up book. (No. 673.) undated. (8 plates with colored pictures.) Quarto. 70 Pf.
(— 673B. o. J. (7 Taf. m. lad. Bildern.) qu. 4º. 60 Pf.)
→ Variant edition (7 plates with colored pictures.) Quarto. 60 Pf.

675.
Creutz, Wilhelm. Die Spielfreuden. Gespenstisches Ziehbilderbuch. (675.) o. J. (8 color. u. 16 einfach. Bilder im Versen.) gr. 4º. kart. — 1 M. 20 Pf.
→ Wilhelm Creutz: The Joys of Play. Ghostly pull-picture book. (No. 675.) undated. (8 colored and 16 plain illustrations in verse.) Large quarto. Card covers. 1 M 20 Pf.

680.
Aufstellbilderbuch. (680.) o. J. (6 Taf. zweiseit. bedruckt.) gr. 4º. geb. 1 M.
→ Pop-up book. (No. 680.) undated. (6 plates printed on both sides.) Large quarto. Bound. 1 M.

688.
Märchen, Das goldene. Neues Ziehbilderbuch. (688.) o. J. (4 Taf. illustr.) gr. 4º. 50 Pf.
→ The Golden Fairy Tale. New pull-picture book. (No. 688.) undated. (4 illustrated plates.) Large quarto. 50 Pf.

688. (alt. listing)
Ziehbilderbuch. „Das goldene.“ Neues Ziehbilderbuch. Märchen m. 4 beweg. Taf. (688.) o. J. (24 Taf. illustr.) gr. 4º. geb. 50 Pf.
→ Pull-picture book, “The Golden.” Fairy tale with 4 movable plates. (No. 688.) undated. (24 illustrated plates.) Large quarto. Bound. 50 Pf.


Next we have earlier Movables from the 1870's. These titles were found in Hinrichs' Bücher-Catalog: 1851/1865 (1875). Vol. 1. Leipzig: Adolph Büchting, 1875
1875 Books

Bilder-ABC, cl. Hildebrandt, Münch. 18mo. (18 Bl. m. 10 K.) Neurath, G. Loewensohn. (p. 443)

→ Picture ABC, by Hildebrandt, Munich. 18mo. (18 leaves with 10 plates.) Neurath, G. Loewensohn.

Simsons Thatra. Bilder m. Bewegungen. qu. 8. (8 Bl.) Fürth, G. Loewensohn. (p. 320)
→ Simson’s Deeds. Pictures with movements. Quarto octavo. (8 leaves.) Fürth, G. Loewensohn.

Singvögelein. Bilder m. Bewegungen. qu. 4. (8 Bl.) Fürth, G. Loewensohn. (p. 320)
→ Little Songbirds. Pictures with movements. Quarto. (8 leaves.) Fürth, G. Loewensohn.

Vogel-ABC-Buch, in Bildern mit Bewegung. 16mo. (10.) Fürth, G. Loewensohn. (p. 414)
→ Bird ABC Book. In pictures with movement. 16mo. (10 leaves.) Fürth, G. Loewensohn.

Jugendthaten. Bilder m. Bewegungen. 12. (8 Bl.) Fürth, G. Loewensohn. (p. 426)→ Youthful Deeds. Pictures with movements. 12mo. (8 leaves.) Fürth, G. Loewensohn.

AND - from an 1871 catalog we have: Unterhaltung u. Scherz. Bewegliche Bilder f. art. Kinder. 4º. (6 L.) Fürth, G. Loewensohn.

→ Amusement and Jest. Movable pictures for good children. Quarto. (6 leaves.) Fürth, G. Loewensohn.

Other titles:
found in Karl Georg. Schlagwort-Katalog: Verzeichnis der im Deutschen Buchhandel Erschienenen Bücher. Leipzig: Verlag des Börsenvereins der Deutschen Buchhändler, 1900.

Childrens:

Für frohe Stunden (Leporello-Album) qu. 4. (10 Farbdr. m. Text auf Pappe.) Fürth 97. G. Löwensohn — 50
translation: For Happy Hours (Leporello Album). Quarto. (10 color lithographs with text on cardboard.) Fürth, No. 97. G. Löwensohn. — 50 Pf.

(250X)

Transcription: Für frohe Stunden (Leporello-Album). Fürth 97. G. Löwensohn. qu. 4. (10 Farbdr. m. Text auf Pappe.) — 50 Pf.
Translation: For Joyful Hours (Leporello Album). Fürth 1897, G. Löwensohn. Quarto. (10 color plates with text on card.) — Price: 50 Pfennigs.
Notes: A panorama / concertina-style Leporello book.

(Lechler)
Transcription: Verwandlungs-Bilder, von C. Lechler. Fürth 97. G. Löwensohn. Fol. (6 farb. Taf. m. 8 Bl. Text.) — 6 M.
Translation: Transformation Pictures, by C. Lechler. Fürth 1897, G. Löwensohn. Folio. (6 colored transformation plates with 8 sheets of text.) — Price: 6 Marks.
Notes: Classic flap/transformation picture book.

(Atlas)
Transcription: Märchen in Bildern (Historische Bilder-Atlas). Fürth 97. G. Löwensohn. Fol. (16 farb. Taf.) — 6 M.
Translation: Fairy Tales in Pictures (Historical Picture Atlas). Fürth 1897, G. Löwensohn. Folio. (16 colored plates.) — Price: 6 Marks.
Notes: Likely a large-format movable / tableau volume.

(Anat.)
Transcription: Das Kind, sein Bau, seine inneren Organe. Fürth 95. G. Löwensohn. qu. 4. (68 S. m. 1 farb. Phantom-Taf.) — 1 M. 80 Pf.
Translation: The Child, Its Structure, Its Internal Organs. Fürth 1895, G. Löwensohn. Quarto. (68 pages with 1 colored anatomical flap plate.) — Price: 1 Mark 80 Pfennigs.
Notes: Anatomical flap-book for children.

(Model)
Transcription: Die Lokomotive. Fürth 97. G. Löwensohn. Fol. (Modellb. m. 1 lith. Taf.) — 1 M.
Translation: The Locomotive. Fürth 1897, G. Löwensohn. Folio. (Model book with 1 lithographed plate.) — Price: 1 Mark.
Notes: Mechanical cut-out / model-building book.

(Entomo.)
Transcription: Schmetterlingskammer, Der Kleine. Fürth 96. G. Löwensohn. 8º. (64 S. m. 1 farb. Taf.) — 2 M.
Translation: The Little Butterfly Chamber. Fürth 1896, G. Löwensohn. Octavo. (64 pages with 1 folding colored plate.) — Price: 2 Marks.
Notes: Natural history flap book, similar to Nister’s entomological movables.

More Notes:

*About the “Quick Press” – The Löwensohn brothers added their quick press in 1876. It was likely a Walter rotary press - developed in 1868 and run with gas. They were not the first German printer to do so, however. In 1832, Schreiber bought its first letterpress printing machine and in 1864, Ferdinand Schreiber, the older of J.F. Schreiber's two sons, imported the first high-speed lithographic press in Germany from France. Schreiber is best known as Meggendorfer’s publisher. The term quick press was originally used for one type of machine, and eventually all types of flatbed press. We know from an old ad testimonial written by Löwensohn that the company that manufactured at least one of their quick presses was "Steinmesse & Stollberg" and the model was “The Noris”. In the ad, they stated “I hereby like that the machine delivered to me, The " Noris," works to my complete satisfaction and gives rise to no complaints. Fürth i / B, 9 März, 1901. G. Löwensohn.

In his 1894 speech marking the company's 50th anniversary, Bernhard Löwensohn outlined the significant steps taken to expand the business, reflecting on the strategic decisions that helped the company grow and thrive over the decades:

" In 1876 we moved our business to Blumenstrasse, into a house with large rooms, in which we also set up our first high-speed press, which was powered by a gas engine. Now the production took on a different appearance: the craft business became a factory, and instead of a daily output of 400 prints on the hand press, we could produce 3,000 on the high-speed press. At the same time we set up a bookbinding shop and shortly afterwards a book printing shop in our house, so that with the exception of the paper and cardboard, the entire production of the picture books took place in our house. Every single manual task, which previously required a lot of time, was now carried out as far as possible by ingeniously designed machines."

If you would like to find out a lot of details about this press see Google book Allgemeiner Anzeiger für Buchbindereien, Volumes 17-18, pages 473-477. You can also email us at [email protected] for the link.

Below is a drawing of an actual press Löwensohn owned in 1903:

Other - Below is a Löwensohn puzzle from 1900:

Artists - We are still working on a list of artists that worked for Löwensohn - specifically with their movable books. We will update the list on our website as we find them.For Löwensohn movables, artist credits were often omitted (especially on export issues or items printed “for” other houses).

Paul Otto Engelhard: A prominent German illustrator, Paul Otto Engelhard contributed to several of Löwensohn's publications. He is especially noted for his work on the movable book titled "Kinderfreuden" ("Children's Joys"). Engelhard's career spanned various children’s books, postcards, and illustrations, including works for other publishers like Meggendorfer Blätter and the magazine Jugend.

Heinrich Leutemann: Known as a popular animal painter and illustrator, Heinrich Leutemann collaborated with Löwensohn on various books. He illustrated titles like "Der Fuchs" ("The Fox") and "Die Schlittenfahrt" ("The Sleigh Ride"). Leutemann was particularly famous for his detailed depictions of animals, and he also contributed illustrations for works like "Bilder aus dem Völkerleben," published by Löwensohn, which showcased ethnographic scenes.

Emil Weiss: Another key figure, Emil Weiss, illustrated several of Löwensohn’s movable books, such as "Tiere und ihre Jungen" ("Animals and Their Young"), published in the early 20th century. Weiss was known for his contributions to children's literature and movable book designs, blending vibrant artwork with interactive elements.

References

Adolf Berger sponge. (1968). Fuerth A to Z: A Historical Encyclopedia. Published by the city of Fürth, this work provides a detailed historical account of Fürth, including entries related to the Löwensohn family and their contributions to local industry.

American Electrician, Weaver, W. D., Woodbridge, J. E., & Poole, C. P. (Eds.). (n.d.). Volume 10. This resource includes press photos and historical insights relevant to the publishing industry's technical advancements.

Arrest of Nazis: Documentation Centre of Austrian Resistance. (n.d.). Postwar justice (Nachkriegsjustiz). Retrieved October 11, 2024, from https://www.novemberpogrom1938.at/en/taeterkreis/nachkriegsjustiz/
This site documents Nazi arrests and postwar justice, providing context for the political climate that affected businesses like Löwensohn.

Chu, J. (2023, August 28). A Jewish family’s narrow escape from Holland: One child’s account of resistance and survival. Smithsonian Folklife. Retrieved from https://folklife.si.edu/magazine/jewish-family-escape-from-holland
Jane Chu highlights immigrant contributions to the United States, including Jewish cultural impacts.

Fiorda 14-18. (n.d.). Robert Loewensohn. Retrieved October 11, 2024, from https://fiorda1418.wordpress.com/robert-loewensohn/
This article provides a historical overview of Robert Löwensohn and the family's influence on publishing.

FürthWiki. (n.d.). Bilderbücherfabrik Löwensohn. Retrieved January 15, 2025, from http://fuerthwiki.de/wiki/index.php/Bilderbücherfabrik_Löwensohn
An in-depth entry on the Löwensohn Picture Book Factory, detailing its history and contributions to movable book publishing.

Göte Klingberg - Svenska barnboksinstitutet. (n.d.). Pictures for children’s books on the 19th-century international market. This seminal work highlights Gustav Löwensohn's role in international movable book publishing.

Holocaust Museum, Washington DC, United States. (n.d.). List of Holocaust Victims from Fürth. This collection lists victims, including members of the Löwensohn family, documenting their experiences during World War II.

IMEC Archives. (n.d.). Parmi les archives des Éditions Bias. Retrieved October 11, 2024, from https://imec-archives.com/archives/carnet-de-bord/parmi-les-archives-des-editions-bias
Archives containing historical material on publishing networks, including links to Löwensohn.

Jeuck, V. (Ed.). (1994). 150 years of Pestalozzi-Verlag. Erlangen: Pestalozzi-Verlag. This publication commemorates the history of Pestalozzi-Verlag, detailing its origins in the Löwensohn Picture Book Factory.

Jewish Museum of Franconia. (n.d.). 89 King Street, 90762 Fürth.
The museum houses artifacts and documents related to Jewish families, including the Löwensohns.

Kaznelson, S. (1962). Jews in German culture: Collective works. This book examines Jewish contributions to German culture, with mentions of prominent families like the Löwensohns.

Meine Sammlung - Alte Kinder- und Jugendliteratur. (n.d.). Past Children's Books: Löwensohn / Pestalozzi Verlag.
A collector’s archive focused on historical children’s literature published by Löwensohn and Pestalozzi-Verlag.

Peter Haining. (n.d.). Movable Books. London: New English Library.
Haining discusses the significance of the Löwensohn firm in producing movable books such as 'Ziehbilderbuch' and 'Ziehharmonika.'

Picturing Childhood. (n.d.). Illustrated Children's Books from University of California Collections, 1550–1990. This collection showcases examples of early movable books and international publishers, including Löwensohn. Note: This curated collection highlights the evolution of illustrated children's books from the 16th century to the late 20th century, emphasizing the artistry and cultural significance of movable books. It includes examples of early movable book techniques, such as pull-tabs, pop-ups, and volvelles, showcasing their innovation and appeal to young readers. The collection also explores the contributions of key international publishers, including Gustav Löwensohn, who played a pivotal role in popularizing movable books in the 19th century.

Second.wiki. (n.d.). Pestalozzi-Verlag. Retrieved January 15, 2025, from https://second.wiki/wiki/pestalozzi-verlag
A summary of Pestalozzi-Verlag's history, with ties to the Löwensohn Picture Book Factory.

Tariff hearings before the Committee. (1909). Sixtieth Congress 1908–1909, Committee on Ways and Means Congressional edition. United States Congress.
This document includes discussions on wages and working conditions in industries relevant to Löwensohn's operations.
FürthWiki. (n.d.). Bilderbücherfabrik Löwensohn. Retrieved January 15, 2025, from https://www.fuerthwiki.de/wiki/index.php/Bilderb%C3%BCcherfabrik_L%C3%B6wensohn

This article provides a detailed history of the Löwensohn Picture Book Factory, including its establishment, contributions to movable book publishing, and its challenges during the Nazi era.

Duckipedia. (n.d.). Pestalozzi-Verlag. Retrieved January 15, 2025, from https://www.duckipedia.de/Pestalozzi-Verlag
An entry summarizing the history of Pestalozzi-Verlag, which emerged from the restructuring of the Löwensohn Picture Book Factory. It covers the company’s evolution and role in children’s literature publishing.

Second.wiki. (n.d.). Pestalozzi-Verlag. Retrieved January 15, 2025, from https://second.wiki/wiki/pestalozzi-verlag
This source highlights the transition of the Löwensohn Picture Book Factory to Pestalozzi-Verlag, focusing on its operations post-World War II and its impact on the publishing industry.

PosterPlakat. (n.d.). Kunstanstalten May AG (KAMAG). Retrieved January 15, 2025, from https://www.posterplakat.com/the-collection/publishers/may-fine-art-prints-publishing-dresden
This entry details the history of Kunstanstalten May AG, also known as KAMAG, a fine art prints and publishing company that acquired the Löwensohn Picture Book Factory under Nazi pressures in 1937. It provides insights into KAMAG's publishing legacy.

Fiorda1418. (n.d.). Bilderbücherfabrik Löwensohn. Retrieved January 15, 2025, from https://fiorda1418.wordpress.com/bilderbuecherfabrik-loewensohn/

Dormitzer, E. (2021). Traces of Memory: The Life and Work of Else Dormitzer (1877–1958). (The Holocaust: History and Literature, Ethics and Philosophy). Syracuse, NY: Syracuse University Press.

Langlois, G. (n.d.). Histoire de la famille Löwensohn. Retrieved from https://fiorda1418.wordpress.com/bilderbuecherfabrik-loewensohn/

Arolsen Archives. “Prisoner Registration: Robert Löwensohn, Auschwitz I, no. 177976.” Accessed September 2025. https://collections.arolsen-archives.org

Rijo Research. “Gustav Löwensohn.” Jewish Fürth Project. Accessed September 2025. https://rijo.hier-im-netz.de/pdf/en_fu_ju_loewensohn.pdf

IMEC Archives. “Fonds 561BIS – Éditions Bias / Jean Lauvaux.” Accessed September 2025. https://imec-archives.com/archives/fonds/561BIS

Fiorda 14-18. “Gustav Löwensohn.” Accessed September 2025. https://fiorda1418.wordpress.com/gustav-loewensohn/

Fiorda 14-18. “Albert Rosenfelder.” Accessed September 2025. https://fiorda1418.wordpress.com/albert-rosenfelder

Fiorda 14-18. “Ernst Rosenfelder.” Accessed September 2025. https://fiorda1418.wordpress.com/ernst-rosenfelder/

Fiorda 14-18. “Robert Löwensohn.” Accessed September 2025. https://fiorda1418.wordpress.com/robert-loewensohn

Fiorda 14-18. “Theodor Löwensohn.” Accessed September 2025. https://fiorda1418.wordpress.com/theodor-loewensohn/