Seeking more info about the E.A. Berg Mfg Co

[Kim Malmberg]

I've spent quite some time trying to create a timeline for the Eskilstuna maker E.A. Berg Mfg Co and what tools they made at which stage. As a part of this work I have written a new story with newly found information.


So if any of you who read this forum have any information, uncommon tool samples, unseen logotype variations and trade catalogues you'd like to share, I'd love to hear from you.


Here's the link to the story:
http://www.wkfinetools.com/contrib/MalmbergK/bergPlot/bergPlot-01.asp

[Jim Koepke]

Kim,

That is an interesting article.

Something stands out and there may be a very simple explanation:

A few important notes regarding the logotypes. The production of hand tools began in 1896. And already in the 1999 tool catalogue we can spot six or seven variations.

How is that possible? Well, we must bear in mind that the EA Berg Mfg Co started already in 1880. And we know that some of the oldest logotypes appear already on his straight razors, either as detailed etches on the blades or small stamps on the shafts, or as illustrations on the straight razor scales.

I know almost nothing of the Berg straight razors, but they were awarded already in the 1880s, so I believe that by the time Berg started producing hand tools, he already had several logo variations which he also recycled on the hand tools. So that creates a clearly wider timeframe. And if the theory is correct that his successor Mr Andersson streamlined the production and cleaned up marketing, then it is logical that the variations occurred before maybe the 1930s.

As you mention earlier in the article it may be due to different artists interpretations.

For the difference between the different parts of a razor it may be the scales were made by a contract supplier having slightly different artwork or interpretation of the art for the engraving.

For the tools, another explanation may be how metal stamps are made. When making a lot of stamps a master stamp (a hub in coinage discussions). This would put the same basic design on each stamp and then the stamp may have been ground to touch it up. Especially after a bit of use they may be worn and retouched to continue their life. Same with the master die. As it wears the die makers try to make them live a little longer before going to a new master.

All these touch ups can introduce variations.

It could be the logos becoming standardized was due to new equipment (a reduction lathe) to make the master dies in a more controlled manner.

We may never know the real answers.

jtk

[Kim Malmberg]

Jim,
Many thanks for this. I agree that we most probably will never find out why there were so many interpretations of the logotype. And to be honest, I am more interested in being able to place these variations on a timescale. But I still cannot fathom how they can be so many and some of them are so extremely different.

But you mention the die makers. Does anyone know what artistic role the die makers had? I mean, did they just try to technically copy the artists impressions or did they adapt a them to what was practical in terms of making a die? Or did they have artistic visions of their own?

[Jim Koepke]

Jim,
Many thanks for this. I agree that we most probably will never find out why there were so many interpretations of the logotype. And to be honest, I am more interested in being able to place these variations on a timescale. But I still cannot fathom how they can be so many and some of them are so extremely different.

But you mention the die makers. Does anyone know what artistic role the die makers had? I mean, did they just try to technically copy the artists impressions or did they adapt a them to what was practical in terms of making a die? Or did they have artistic visions of their own?

Any real reasons will be lost to history.

The punches or dies may have a progression of wear that would be obvious if one were able to get thousands of examples side by side to see the variations.

Then the changes from die to die may have been due to pressures to get something out of the shop and in use.

Then as with the variety within an issue of coinage, some of the variations can be attributed to carelessness, absentmindedness or strong drink.

There may have even been artistic differences so a die maker could lay claim, silently, to a particular design.

One thought comes to mind on the swoopy tail example is a die maker could have started making the design backwards and corrected the design instead of scrapping his work.

jtk

[Bruce Haugen]

I don't know what other sources there are to find. You've managed to unearth more info on my favorite chisel than anyone else I know.