1883

Paul Casberg was born in the city Jacobshagen, district Saatzig, Pomerania.

1904

The first known works by Casberg as an illustrator of the printed editions.

1910

The first artworks in poster graphic arts genre.

1911

By the court decision Paul Casberg was found incompetent by reason of mental disorder based on the application of his first wife of excessive extravagance with low earnings and alcohol abuse.

1915

First Casberg`s works of battle genre, illustrations showing army uniform.

1916

First books of Casberg authorship on history of military suit.

1926

Paul Casberg got married for the second time. His wife became Ellebet Franke, together they brought up her son from her first marriage.

1933

By the court decision Paul Casberg`s application for legal incapacity revision was satisfied.



Casberg applied for SA enrollment. After adjuration in October 1933 he was enrolled to SA territorial group Berlin-Brandenburg.



Casberg became a member of the Imperial Culture Chamber, was recorded under personal number G1537 in professional group of graphic artists of the Imperial Fine Arts Chamber in Berlin.



Casberg became a member of the National Socialist Flying Corps.

1934

Beginning of cooperation with edged weapon manufacturer C.Eickhorn, Solingen.

1935

Creation of design of Göring`s Wedding Sword for the firm C.Eickhorn.



Casberg worked at the design of new flags and standards for Wehrmacht.

1936

Casberg was awarded a rank of SA-Truppführer of 25 Cavalry standard of Berlin-Brandenburg group.

1937

Took position of military art specialist in the National Inspection for Riding and Driving Instruction.

1938

Casberg was discharged from the SA on the basis of court decision on conviction of derogatory comments about NSDAP leaders and manipulating business contractors to increase personal yield.

1939

Casberg worked at award badges design.

1943

Newspaper article on Paul Casberg 60-anniversary.

1944

The artist's studio was destroyed as a result of air attacks.

1945

Casberg resided in Berlin till the end of the Second World War. His death date and circumstances are not known.

1883

Paul Casberg was born in the city Jacobshagen, district Saatzig, Pomerania.

1904

The first known works by Casberg as an illustrator of the printed editions.

1910

The first artworks in poster graphic arts genre.

1911

By the court decision Paul Casberg was found incompetent by reason of mental disorder based on the application of his first wife of excessive extravagance with low earnings and alcohol abuse.

1915

First Casberg`s works of battle genre, illustrations showing army uniform.

1916

First books of Casberg authorship on history of military suit.

1926

Paul Casberg got married for the second time. His wife became Ellebet Franke, together they brought up her son from her first marriage.

1933

By the court decision Paul Casberg`s application for legal incapacity revision was satisfied.



Casberg applied for SA enrollment. After adjuration in October 1933 he was enrolled to SA territorial group Berlin-Brandenburg.



Casberg became a member of the Imperial Culture Chamber, was recorded under personal number G1537 in professional group of graphic artists of the Imperial Fine Arts Chamber in Berlin.



Casberg became a member of the National Socialist Flying Corps.

1934

Beginning of cooperation with edged weapon manufacturer C.Eickhorn, Solingen.

1935

Creation of design of Göring`s Wedding Sword for the firm C.Eickhorn.



Casberg worked at the design of new flags and standards for Wehrmacht.

1936

Casberg was awarded a rank of SA-Truppführer of 25 Cavalry standard of Berlin-Brandenburg group.

1937

Took position of military art specialist in the National Inspection for Riding and Driving Instruction.

1938

Casberg was discharged from the SA on the basis of court decision on conviction of derogatory comments about NSDAP leaders and manipulating business contractors to increase personal yield.

1939

Casberg worked at award badges design.

1943

Newspaper article on Paul Casberg 60-anniversary.

1944

The artist's studio was destroyed as a result of air attacks.

1945

Casberg resided in Berlin till the end of the Second World War. His death date and circumstances are not known.

The name Paul Casberg is familiar to every collector of the Third Reich objects. His works significantly specified visual perception of Nazism. In modern language Casberg was not just an artist, but a designer. His artistic legacy is immense and includes not only works of 30-40 years but also the early ones that remained unknown for a long time. Most legends and rumors emanated from a great interest to his works and insufficient reliable information available. Unfortunately, we have known mostly nothing about the artist except the date of his birth and his sketches. The first studies were conducted by LTC (RET.) Thomas M.Johnson and Robert McDivitt. They published their survey findings in the 3rd and 6th volumes of an 8-volume edition "Collecting the Edged Weapons of Third Reich." Partially the documents became available only in January 2016 at the expiration of a seventy-year period of restriction on the distribution of archive materials in accordance with § 8 p.3 of the German Federal Archives Act. A lot of data became available due to information exchange between enthusiast people all over the world via the Internet.

Let me start by summing up old legends about the artist. Paul Casberg is a feigned name. One of the wide-spread beliefs is that the pseudonym helped the artist conceal his Jewish origin. But there were no facts found to support this assumption while pseudonyms were regularly used in the artistic establishment. Moreover, the artist was a member of the SA and fulfilled orders from high-ranking officials of the party who would have been reluctant to deal with a person having a tarnished reputation in racial matters. According to others it was even a group of artists who worked under this name. But available documents deny this idea as well. Paul Casberg was a person of his time, he had vices and weaknesses incident to human nature. We`ll try to dwell on all aspects of his personality.
Paul Casberg was his professional pseudonym that the artist took on his mother`s maiden name; his birth name was Paul Krause. In most official records his double name was used – Krause named Casberg (Krause gen.Casberg). If we look at Casberg`s artworks from the earliest ones in the chronological order we can observe evolution of the artist`s style, the way genres changed each other and coexisted diverse tendencies in the course of his life. Casberg`s early artworks are marked by such styles as modern and jugendstil. A young artist was concentrated on the depiction of objects in a clear manner using saturated colors. As an illustrator of the print media he used art-deco style actively. Poster graphic arts genre was replaced by a battle one, while animal painting genre gave the artist a wide scope of work. Casberg had a good sense of object proportions and geometry of a composition, he contrasted forms and colors. Then we can observe influence of events in life of the country and people. The logical completion of his style evolution and at the same time a new stage of development became the style of heroic realism. These works were the apogee of Casberg`s creative activity. They featured in a full degree his hallmark and versatile talent. Paul succeeded to realize himself not only as a decorator, animalist but as a designer as well. The artist developed unique corporate identity to some military organizations from insignias, flags and accoutrements to uniform details. He was inspired by experimenting with materials, forms and styles. His works harmoniously conformed to the general stylistics and conveyed the spirit of times.

Having launched this project we don`t stop our researches. We`ll be glad if you help us to add information about life and work of this talented person.

Paul Krause Casberg was born on 28, August, 1883 in a small town Jacobshagen district Saatzig in Pommern, in the family of hereditary artists. His father, Emil Krause, was born on 24, May, 1847 in the neighbor settlement Ball. His mother was born on 29, December, 1846 in Gramzow. Her name is not known, but her maiden surname was Casberg. Besides Paul there were two more children in the family: the brother Herman and the sister Martha. His brother`s fate is not known. His sister married a police inspector, her surname was Buchholz and she lived with her husband in Röngental. Paul got his primary education taking classes with a tutor and later must have studied in the Berlin Аcademy of Аrts to be a graphic artist, having graduated from which resided and worked in Berlin.

The first documentary evidence of Casberg as an artist goes back to 1904. The name of the artist can be found on the frontispiece of the book by Erich Mühsam «Die Wüste». Probably, it was not his first artwork but it is one of the first known to us documentary evidence of Casberg. Illustrations in the book are signed by the artist, he is indicated as a designer. The foretitle bore the name of the artist with his pseudonym. One of the reasons why Casberg decided to use a pseudonym could be the personality of the author of that book. It seems important to mention that the author of this book, Erich Mühsam, was not just a writer but also the leader of the homosexual movement in Germany, the leader of the anarchist movement who was tortured in the concentration camp Oranienburg in 1934. After his first success Casberg started to work closely with authors who were also activists of the homosexual movement in Germany. In 1904 Casberg illustrated the book "Renaissance des Eros Uranios" by Benedict Friedländer who was the main theorist in the organization of homosexuals founded by Mühsam. In the book Friedländer reveals the theory of the special gender-sexual composition of men apt to unisexual love. A significant part of the book became illustrations and humorous decor created by Casberg.

In 1905 Casberg illustrated the book by one of the first supporters of homosexual rights Adolf Brandt "Inseln des Eros: mit 1 Porträt des Verfassers und 1 Faksimile". According to some sources the illustrations of Paul Casberg under the pseudonym (Paul Levi) were published on pages of the first magazine on gay-culture "Der Eigene", which editor was Adolf Brandt. The reason of popularity of a young artist in such specific establishment is not clear. This "shadow" side of his personality could explain why Casberg used the pseudonym. It is possible that due to involvement into the homosexual society Casberg got opportunity to reveal his talent quite in other subjects but it would happen a bit later. While at the period of time under discussion Casberg continued to cooperate with different publishing houses, magazines and newspapers. Visual characters created by Casberg enhanced intentions of authors in texts of comic genre as well as deep poetry. To Casberg’s artworks also belong illustrations to the comedy by Gustav Schüler "Die Leichenwürmer. Eine Komödie zwölf Schuh unter der Erde. In einem Akt", the cover of the book by Dorothee Göbeler "Der Myrtenkranz", the cover of the book by Fan Carlsen "Der Handschuh der Lucrezia - und andere Novellen", illustrations to the book by Oscar Klaussmann "Treue waffenbrüder". Casberg`s illustrations decorated texts of the satiric magazine "Der liebe Augustin", one of his paintings he devoted to the writer Gustav Meirink under whose direction this magazine was published. Illustrations by Casberg decorated a newspaper article on release of a new mute horror film by Conrad Veidt “Insanity” and the textbook by Rühlmann “Democratic rights and freedoms in Switzerland”.

At that time the artist got married, unfortunately we lack information on his first marriage. There were no children in that marriage, his privacy was far from successful. Being young enough Casberg got stuck in doubtful companies and numerous love-affairs became addicted to alcohol. Being not good at financial matters he concluded unprofitable contracts and carelessly spent all earned money accumulating debts. Such way of living definitely caused unpleasant consequences. Casberg's first wife initiated trial accusing him of loss of reality sense and inability to manage money. On 15 Dec 1911 by the Charlottenburg district court decision Paul Casberg was found incompetent by reason of mental disorder. In the procedure statement it was mentioned that the artist suffered from imbecility, alcohol abuse and money wastefulness with low earnings. As a result his marriage broke up.

At the beginning on the XX century in Germany developed actively poster graphic arts, to Casberg’s authorship belonged some placards and posters, his artworks he signed with the pseudonym Casberg-Krause. Being performed in the minimalist style that was popular among graphic artists of that period Casberg's graphic artworks attracted with their visual impact, while a laconic color grade emphasized genre features in the following artworks "Hingerichtet", "Musik für alle". Invitation to visit the ball "Blümen-Säle" is both a poster and a placard informing of the event. Many posters and books were published within the period of 1910-1920, he continued cooperating with different printed editions. The First World War was also highlighted in Casberg`s artworks, he published a number of works devoted to military actions of that time. Casberg became the author or illustrator of several books on German military uniform of the First World War time. His name can be seen on the title page of the following books: "Deutsche Feld - und Friedensuniformen", and also in co-authorship with Ottomar von Osten-Saken "Deutschlands Armee in feldgrauer Kriegs - und Friedens - Uniform". They are informative reference books demonstrating a range of uniform of the German army in the First World War time. Illustrated with colorful pictures they clearly and schematically often in tables demonstrated the detailed comparison of uniform of all ranks of different groups of troops and basic elements of clothing of the whole army. Sets of post-cards featuring the uniform of the First World War time and battle scenes were published at this time as well. Casberg was one of the artists who took part in illustrating a collection of books on battles of the First World War - “Der Krieg. Illustrierte Chronik des Krieges”. Along with other artists he illustrated 3rd and 4th volumes and designed the cover of the 3rd volume of this chronology. What exactly favored career launch of the young artist is not known for certain, but it can be explained referring to the homosexuality theme. As may be supposed, Casberg`s fellowship with authors who were homosexuals could make him privilege within military establishment. It should be mentioned that at the beginning of ХХ century the homosexuality spree took place all over Europe. In many countries punishment for it was soften, as a result many clubs and movements appeared, this subject became popular in publishing. In Germany homosexuality except bohemian circles was common in the army as well. In the First World War time homosexuality was considered to be the fashion in the German army because it united soldiers' fraternity. Despite the fact that during the times of the Third Reich homosexuals were equated with inferior, many nazi party men especially old soldiery were latent homosexuals. Whether the artist was a homosexual is not known. At that time the artist signed his works with both names Casberg and Casberg-Krause and finally decided on Paul Casberg. All his further artworks he signed with the only name Casberg, while in official records Krause-K. or Krause gen.Casberg were mentioned.

The 20 th brought many changes to private and creative life of Paul Casberg. The court decision on incompetence was still valid, nevertheless the artist succeeded in his business. Paul divorced his first wife and got married for the second time in 1926. The artist lived with his family in Berlin-Charlottenburg, had address Neue Kantstrasse 16, and had his own painting studio on 1d, Keiserin Augusta Avenue. In the second marriage the artist brought up his wife’s son from her first marriage with English officer Ruwe. His wife, Ellebeth, helped him to revise attitude to life and work and to get rid of ill reputation. Responsible attitude to his professional duties allowed Casberg to get lucrative offers and secure financial supply of his family. The significant achievement of his professional activity on this moment was the designing of the Great Police Exhibition in Berlin in 1926 that demonstrated the last achievements of police and served the idea of rapprochement of police with public. Casberg’s artworks served sceneries that decorated the pavilions of exhibition halls and at the same time demonstrated historical development of police. The artist also worked on commercial orders, among his known clients were these brands - "MAUXION", "Reemtsma", "Batschari", "Steyr", and some other minor shops. Apart from designing of books Casberg created playbills of exhibitions and continued collaboration with different magazines and newspapers, published the album of etchings featuring different dog breeds. This album got a high appraisal of the known art critic M.Osborn for Casberg`s aptitude to render with the help of artistic device the sole of the most faithful human`s friend.

Casberg's artworks that depict horses deserve special emphasis. By detailed elaboration of posture and musculature the artist is not limited to the external form. Depicting effects of light and shade Casberg's paintings render breed grandeur and aristocratism, fill paintings with emotionality. The artist was good at conveying dynamics of a horse and motion of a rider. The lithography "Frederic II on a horse" depicts an animal with the inherent to it magnificent posture and graceful walk that gives the atmosphere of greatness and authority to a rider and the whole picture. His colored paintings of horses are no less impressive. Casberg created several etchings portraying horseman on a horse in a jump depicting motion and detailed anatomy of the animal. The artist tried his hand at advertising posters, equestrian hunt portrayal and other kinds of artworks. His artistic aptitudes were noticed, he became a staff illustrator who decorated covers of several issues of the magazine "Deutsche Sankt Georg Sportzeitung". The color range of the etching "Nobleman with a falcon" underlines quiet and dignified grace of a horse and its inborn delicacy. The static form emphasized splendor of a rider on a horse. In the same period Casberg began to try his hand at plastic arts as a portrait medalist. Thus he reflected character not by means of light and shade but by means of material texture and its color. The relief of a horse made in the form of a table medal realized artistic capabilities and rich creative imagination of the artist. This sketch was also used for bronze bowl design. This experience helped Paul afterwards when he began to create sketches of award badges and uniform for the German army and NSDAP.

The 30th were the years when Casberg`s genius was at its height, when appeared the most significant works that brought him fame. Positive changes allowed Casberg on 12 November 1932 to turn back to court for cancellation of his legal incapacity. Almost 20 years Casberg didn't dare apply to court fearing the disclosure of case materials that could negatively affect his reputation. In June 1933 the district court of Charlottenburg abolished the decision on Casberg`s legal incapacity. Since the day of formation of the Imperial Culture Chamber, 22 Sept 1933, Casberg became the member of the Imperial Chamber of Fine Arts of city Berlin and was registered under the number G1537 in the professional group of graphic artists.

Nazis coming to power became a crucial moment in Casberg's creative activity. The artist like most Germans had a positive attitude towards the country`s new leader - Hitler. The country faced economic recession and mass dissatisfaction by humiliating conditions of the Treaty of Peace signed in France in 1919, better known as the Treaty of Versailles, requiring Germany to lose a part of territories, to pay large sums of reparations and also to limit the armed forces. Hitler got considerable support of population promising to raise life standards and to return the former glory of Germany. Casberg started to work for the national-socialists. He got the orders from the Ministry of internal affairs, Reich armed forces and political organizations. The artist was considered a valuable specialist, he was respected as a personality and professional. However, Casberg wasn`t the member of the party and hadn`t done military service. On 01 September 1933 he applied for enrollment to the SA and in October 1933 was officially accepted to the 25th Cavalry Standard of the SA Berlin-Brandenburg group. The Standard was a part of the 25th brigade Brandenburg-South and accommodated in the south-west of Berlin near city Potsdam. Casberg`s career in the SA developed routinely: 20 Apr 1934 Casberg was awarded a rank of SA-Sturmann, 09 Nov 1934 – Rottenführer, 20 Apr 1935 – Scharführer, 20 Apr 1936 – Oberscharführer, 09 Nov 1936 – Truppführer. On 12 Nov 1933 Casberg became a member of the National Socialist Flying Corps. The SA senior leadership described positively his personality characterizing him as a persistent, dedicated National-Socialist and an exemplary SA-Mann. His artistic skills and specific knowledge of uniform, orders and decorations were highly valued.

With the signing of the Treaty of Peace old flags and standards no longer met the needs of the new time and had negative heritage. The artist was assigned to design new standards for the Wehrmacht and to find skilled workforce to fulfill this task. Casberg qualified this order as "the most beautiful from all existing". It was decided to produce flags from high-quality heavy silk using the technique of two-sided embroidery. The fulfillment of this order involved some difficulties, namely, deficit of skilled embroideresses that could cope with the assigned task. After the defeat in the First World War many plants that worked for army needs faced bankruptcy due to absence of orders losing at the same time specialists whose experience and mastery were mostly fully lost during 15 years. Nevertheless, Casberg succeeded to find a few specialists who shared their skills to a new generation. Conceptualizing the idea of new symbols Casberg taking care of traditions managed to approach to the uttermost new Wehrmacht standards to old flags of Germany, size and choice of colors reflected past military history. All emblems being inalienable part of the design had deep historical roots and symbolic value: the eagle was borrowed from the emblem of Charlemagne, the swastika in ancient times was considered the symbol of prosperity and embodied the sun. These emblems in different variations can be seen on most accouterments of the Third Reich. No less meaningful emblems became the cross that initially was used by the knights of the Teutonic Order and the oak leaves wreath or, as in the case of air forces, the laurel wreath that symbolized endurance and victory accordingly. Flags and standards were completed with finials that crowned design integrity and esthetically underlined the style created by Casberg. The artist achieved high results, his flags became the symbol of fight and unbreakable spirit that was faithful to the old army.

On the 16th of March 1936 Hitler solemnly handed in to the armed forces new flags that symbolically were bound to history and simultaneously identified regeneration of the army after failures in 1918. Führer highly valued Casberg's artworks and even invited him to Berchtesgaden to discuss additional state contracts. The cooperation with government was not restricted to designing of flags. The artist worked on corporate identity of some official bodies. His sketches were used in production of different award badges, daggers, gorgets and for other state orders.

No less impressive was a political poster by Casberg. Being performed in subdued colors it conveyed political ideas and slogans to the viewer with the help of visual means. For instance the poster of the Imperial labor service appealing to popularize labor among the youths. To the landmark can be referred his another artwork - the etching portraying the hero of the storm troopers Horst Wessel. The storm-trooper was shown on the dark background of a stormy sky and the army of storm troopers. This engraving expressed ideas vital to nazi propaganda on Wessel. This artwork brought fame to Casberg, he became well-known among colleges and general public. The image created by Casberg hit the mark and served a cover of a pocket edition of the NSDAP official hymn "Die Fahne Hoch”.

In addition to significant orders Casberg continued to fulfill miner ones. Mainly he continued to illustrate books on military subjects, for instance the album “Orden”. This edition was published in a miniature format and was placed in and sold with a packet of cigarettes and featured a colorful collection of rewards and orders of times of all German kings. In 1935 as an illustrator Casberg designed one issue of the series Reibert "Der Dienstunterricht im Heere" - the annual periodical for the Wehrmacht soldiers. These periodic manuals were reference books containing explicit instructions on soldiers training covering a wide range of information from general questions and fight tactics to military history of Germany. He also illustrated the book by E. Strauss "Obervormann Wrede: das Buch vom Arbeitsdienst" in 1935. In 1936 he participated in the exhibition “German Advertisement Graphics” that took place in Berlin. At this period of time Casberg cooperated with printing companies Döringischen Buch- u. Kunstdrukerei and Otto von Holten, Drukerei which were contracted to print from Casberg`s sketches award certificates for winners of the SA-competition in 1937 and different documents for the German Academy of Aeronautics.

Economy growth and militaristic public sentiment determined the development of new trends in production. One of them became production of short-blade dress weapon. Within the period from 1934 to 1938 for many organizations were developed their own patterns of daggers and hewers. For the approved patterns manufacturing firms got financial rewards that's why large manufactures hired independent artists to take advantage in the competition. One of the firms in Solingen Carl Eickhorn in 1934 hired Casberg who became the leading designer of the company. During the years of their fruitful collaborationCasberg created a new logotype for the firm, designed product catalogue and the most important fact was that his sketches became not only works of the firm but national patterns of edged weapon. Casberg's engravings hang on walls of the headquarters and were used in the advertising campaign. Working on dagger designing Casberg demonstrated mastery and ingenuity creating different models of edged weapons. From his sketches were made mass production daggers as well as individual patterns of edged weapon. The ideas that served the basis of design reflected competitive spirit of the nation, aspiration to conquests and will to victory. But not all his works shared the same destiny, some patterns were not realized at all, the other had been waiting for their right time progressing from a sketch, prototype to serial production. LTC (RET.) Thomas M.Johnson efforts gave us opportunity to see a part of Casberg`s artworks. Unfortunately, LTC (RET.) Thomas M.Johnson sold out his collection and now it is unavailable for general public. Working for the company C.Eickhorn the artist created not only daggers but dress sabers as well. There are two sabers from the so-called “Field Marshall” series that belong to Casberg`s authorship and a range of design options for other sabers. In 1935 the artist was given the challenge to create a sketch of the wedding sword for Hermann Göring. Paul did his best to fulfill this task excellently; Göring gave high appraisal to this sword. Casberg succeeded to embody in this sword a lot of symbols important for Göring. This sword was custom made and presented to the groom on occasion of his second marriage. The crossguard featured the Luftwaffe insignia, the stylized pommel featured the order Pour de Merite which Göring was awarded during the First World War time. The sword was richly encrusted with germs and gold-plated elements. The scabbards were covered with light-blue sharkskin imitating the color of the Luftwaffe parade uniform. Göring so enjoyed this sword that assigned to create a less expensive version for less solemn occasions. The sketches from the former Johnson`s collection show a range of design options of gift patterns that were distinguished by rich decorative ornament and unusual design elements. These patterns look luxuriously and refined. Other patterns are executed in a less sophisticated but rather elegant design. We can also assume that there are some daggers that could have been created by Casberg. One of such daggers could be the dagger of National-Socialist Flying Corps. Casberg had been the member of this organization since 1933 and performed different tasks for them. Unfortunately, the sketch of this dagger hasn`t been found yet.

In addition to daggers and sabers Casberg worked on designing of attributes of uniform, gorgets, belt buckles, award and memorial badges. Since April 1937 the artist was employed as a military art specialist in the National Inspection for riding and driving instruction that belonged to the Supreme SA Command. For the Riding corps Casberg designed badge awards and miniatures with the image of horses that manufacturing was commissioned to firms Preussische Bergwerks- u. Hütten AG (Preussag) and Ernst u. Hüller, Pforzheim.

One of Casberg`s artworks with the image of the head of a horse was used in 1938 to decor the cover of the magazine "Deutsche Reiterheftе" that was the official publication of the Inspection for riding and driving instruction.

At least two organizations – RAD and TeNo - owed creation of their corporate identity to Casberg, who designed the insignia for these organizations, flags and attributes of the uniform. In 1936 was published the book "Abzeichen des Reichsarbeitsdienstes" and “Der Dienstkleidung der Teschnichen Nothilfe” in 1940. Due to sketches Paul Casberg is known for designing of the artillery emblem and the fire police emblem model 1934 as well as belt buckles and cockades.

The design of the president`s chain of the German Academy of Aeronautics is also referred to Paul Casberg authorship. This chain was made for Hermann Göring who was the President of the Academy. As a pendant to the chain was used the academy member`s badge made in the form of the oak leaves wreath featuring in the center a large stylized spread-winged national eagle holding the swastika in his talons.

Despite successful creative activity, diverse employment and deserved authority the year 1937 was marked by unfavorable events that caused Casberg many difficulties. In November 1937 his personal driver, Richard Brenner, accused Casberg of derogatory comments about the top management of NSDAP and attempts to discredit the adjutant to Obergruppenführer Litzmann, von Kaiser, who allegedly dissuaded the SA top management from the supposed promotion of Casberg on service. According to statements of the accuser Casberg allowed himself to tell a humiliating anecdote about Victor Lutze, named him a "petty post secretary who does not even know how to wear awards", named Dr.Ley a drunkard. During the course of the trial Casberg was accused of double collection of the license fees for the same sketch from which the firm Preussag was contracted to make medals while the firm Ernst u. Hüller, Pforzheim was contracted to make miniatures and also speculations on the cost of the SA daggers. Being the member of the National Socialist Flying Corps Casberg owed membership fees for 10 months and kicked out representatives who were charged to collect his debt. Ignoring by Casberg greeting of colleagues in nazi style was considered to be a gross violation of discipline and order. On the 21st of February Casberg was placed on trial at the Horst-Wessel-House, the Office of the SA-Group Berlin-Brandenburg. Ironically, Casberg was well-known as the author of the painting titled “Horst Wessel”.

The proceeding weakened the health of the artist. The physician diagnosed symptoms of stroke paralysis on the right side of the artist`s body. A year earlier Casberg had already suffered the same health problems resulting in hearing and vision disorder. On the 5th of March 1938 before he received the verdict of the court Casberg applied for release from the SA due to health problems but it was declined. The verdict issued on 11, May, 1938 stated: “Truppführer Krause-K. misconducted and ignored the duties of the SA-Führer. Moreover, his behavior compromised his reputation. As a well-educated person he had to realize to a full degree the consequences of such unworthy actions. Extremely gross violations of discipline and order, insult of honor and dignity of the Chief of the staff and other SA leaders indicate weakness of will and require fair expiation of the guilt by infamous discharge from the SA.”

Nevertheless, being discharged from the SA, Casberg was not forgotten. He continued successfully his creative activity. In 1939 was published the book "Deutsche kämpfen in Spanien" that narrated about the civil war in Spain on behalf of the pilot from the Legion Condor that was directed to Spain to support the nationalists. The review of all battle actions was enhanced by illustrations made by Casberg. In 1940 was published another work by Casberg the Regulations for the Technical Emergency Corps. Though uniform was designed within 1934-1938 the very this publication integrated separate sketches in the form of a book.

In addition to these works Casberg created several award badges, continued to design emblems. Individual features of his style artfully matched the common concept of the Third Reich symbolic and the idea to convey fully information on the feats of arms of an owner.

The 60 anniversary of the artist was reported in the press as a proof of deserved recognition. In the newspaper "Illustrirte Zeitung Leipzig" Nr.5029, September 1943 was noted: "Paul Casberg, a graphic artist known for his sketches for the German armed forces who among other is the author of new flags and standards, on the 28 of August turned 60".

On photos made by H.Hoffmann in August 1943, Paul Casberg looks a successful person. He continued to work in his workshop until it was burned down during bombing of Berlin in 1944. According to some sources till the end of the Second world war Casberg lived in Berlin. The further fate of the artist is not known. With the downfall of the Third Reich Casberg disappeared. Maybe the true about nazi regime crimes that was discovered after the war and ruining of too idealized beliefs broke spirit of the master. Created by him symbolic that was supposed to embody good ideas was proclaimed the symbol of evil. The matter of all his life turned to personify crimes against humanity. Paul allegedly committed suicide. But this version was neither confirmed nor denied by documents.

Dear guests, we are interested in your opinion as for our work and we will be thankful if you help us to perfect our project. Any information verified will be added to our web-site indicating sources. We invite collectors and researchers to collaboration and information exchange. A part of the information published in frames of this project is exclusive. We are glad that we succeeded to find it and we still keep on searching new interesting facts of biography and creative activity of Paul Casberg. As a part of materials was received from chargeable sources we will be thankful to any financial help from you that will be channeled to further researches. Kind regards, team Honordagger.