The name Paul Casberg is familiar to every collector of the Third Reich objects. His works significantly impact visual perception of Nazism. Providing contemporary definition 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 have remained unknown for a long time. Most legends and rumors originated from a great interest to his works and insufficient credible 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 findings in the 3rd and 6th volumes of the 8-volume edition "Collecting the Edged Weapons of Third Reich". Some 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 reviewing old rumors 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 by artists. 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, his full name - Paul Julius 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 how diverse tendencies coexisted in the course of his life. Casberg’s early artworks can be referred to such styles as modern and jugendstil. A young artist was concentrated on depiction of objects in a clear manner using saturated colors. As an illustrator of the print media he actively used art-deco style. Poster graphic 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 how his activity was influenced by events happened 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 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 accepted design standards and conveyed the spirit of the time.

Having launched this project we do not stop our researches. We will be glad if you help us add information about life and work of this talented person.

Paul Julius 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, August Emil Krause (24, May, 1847 - unknown) was born in the neighbor settlement Ball. His mother, Therese Friederike Casberg, (29, December, 1846 - 1928) was born in Gramzow. Besides Paul there were two more children in the family: the brother Herman (5, December, 1972 - 1943) and the sister Martha (4, February, 1885 - 1945). His brother worked as a tailor in Berlin, had a son and daughter. 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, after graduating he 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’s activity. Illustrations in the book are signed by the artist, he is mentioned as an illustrator. The artist’s name with the pseudonym was on the foretitle. 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 a 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". According to some sources the illustrations by 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 a 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. Design created by Casberg enhanced books of comedy genre as well as meaningful 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".

In 1906 the artist married a lady 15 years older than he, Friederike Blankenburg. There were no children in that marriage, marital relationship 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 wife initiated trial accusing him of loss of reality sense and inability to manage finances. 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 poster graphic developed actively in Germany. During that time Casberg created some posters, his artworks were 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 attention with their visual impact, while a laconic color palette emphasized genre features in the following artworks "Hingerichtet", "Musik für alle". The invitation to visit the ball "Blümen-Säle" was both a poster and a placard informing on the event. Many posters and books were published within the period of 1910-1920, he continued working for different publishers. The First World War was also depicted by Casberg in his artworks. As the first global military conflict the war determined the theme of cultural life of nations involved in it. Starting from occasional illustrations for magazines that informed on current military events and art sketches featuring uniform, Paul Casberg was getting more and more involved in the military-themed art. Unleashing of his creative potential in this field can be referred to the release of full-fledged books on German uniform of the First World War period. Casberg is an author and illustrator of books: "Deutsche Feld- und Friedensuniformen" and also in co-authorship with Ottomar von Osten-Saken "Deutschlands Armee in feldgrauer Kriegs- und Friedensuniform". They are 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. 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 homosexuality spree took place all over Europe. In many countries punishment for it was made softer resulting in uprise of many clubs and movements, this theme became popular in publishing. In Germany homosexuality except bohemian circles was common in the army as well. During First World War time homosexuality was relatively tolerated in the German army, because it was believed to unite military fraternity. Despite the fact that during the times of the Third Reich homosexuality was a crime, 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 opted for 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 20th brought many changes to private and creative life of Paul Casberg. The artist succeeded in his business, although the court decision on incompetence was still valid. After a failed first marriage Paul married again in 1926. The artist lived with his family in Berlin-Charlottenburg on the street 16 Neue Kantstrasse and had his own art 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 change attitude to life and work and get rid of bad 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 at that moment was designing of the Great Police Exhibition in Berlin in 1926 that demonstrated the last achievements of the police and served to strengthen the ideal that the police and people of the community should be partners. Casberg’s artworks decorated halls of the exhibition and at the same time demonstrated historical development of police uniform. The artist also worked on commercial orders, among his known clients were the following brands - "MAUXION", "Reemtsma", "Batschari", "Steyr", and some other minor vendors. Apart from designing of books Casberg designed posters for exhibitions and continued working for different magazines and newspapers, created 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 art the sole of the most faithful human’s friend.

In the 20th Paul Casberg was named by the German press a sports artist, whose name is well known to a wide range of art connoisseurs. Casberg's portraiture of horses deserves special attention. By featuring detailes of posture and musculature the artist is not focused only on the external shape. Depicting effects of light and shade Casberg's artworks render breed grandeur and aristocratism, emotionally intuitive expression. The artist was good at conveying dynamics of a horse and motion of a rider. The lithography "Frederic II on a horse" portrays the animal with the inherent to it magnificent posture and graceful walk that enhances authority of the rider and grandeur of the whole picture. His colored paintings of horses are no less impressive. The color range of the etching "Nobleman with a falcon" features dignified grace of a horse and its inborn delicacy. Casberg created several etchings portraying horseman on a horse in a jump depicting motion and detailed anatomy of the animal. Etchings made on Japanese handmade paper put in an album, elegantly decorated with leather, went on sale on New year's eve as an exclusive gift for true lovers of aesthetics. The ability to animalistic genre could not remain unnoticed, the artist becomes a full-time illustrator and designs many issues of the magazine "Deutsche Sankt Georg Sportzeitung". The artist also fulfils his potential in commercial advertising, equestrian paintings and many other artworks.  In one of period magazines it was mentioned that some advertisement paintings by Casberg were published at that time under the pseudonym Pecas (advertising poster "Depression" publishing house: Atelier Pecas). In the same period Casberg began to try his hand at plastic arts as a portrait medalist. Thus he portrayed character not by means of light and shade but material texture and its color. The relief of a horse made in the form of a table medal embodies 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 badges and uniform for the German army and NSDAP.

The 30th were the years when Casberg’s genius was at its height, when he created 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 did not dare apply to court fearing the disclosure of case materials that could affect his reputation. In June 1933 the district court of Charlottenburg cancelled 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 due to humiliating conditions of the Treaty of Peace signed in France in 1919, better known as the Treaty of Versailles, according to which Germany lost a part of territories, paid large sums of reparations and also had to limit the armed forces. Hitler got considerable support of population promising to raise life standards and 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. Casberg was a respected artist, who specialized in uniform and insignia, his skills and talent were highly regarded. However, Casberg was not the member of the party and had not 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-group Berlin-Brandenburg. 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 promoted to the 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 find skilled workforce to fulfill this task. According to the artist this order was "the most beautiful from all existing". It was decided to manufacture flags from high-quality heavy silk applying 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 lost for 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 correlate new Wehrmacht standards with old flags of Germany, sizes and colors reflected past military history. All emblems as an inalienable part of the design had deep historical roots and symbolic meaning: 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 found on all accouterments of the Third Reich. No less meaningful emblems were the cross that initially was used by 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 complete with finials that highlighted design integrity and esthetically accentuated the style created by Casberg. The artist achieved high results, his flags became the symbol of struggle and unbreakable spirit that was faithful to the old army.

On the 16th of March 1936 Hitler solemnly handed in new flags to the armed forces 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 for different badges, daggers, gorgets and 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. His another artwork can also be referred to the landmark - the etching portraying the hero of the storm troopers Horst Wessel. The storm-trooper was portrayed on the dark stormy sky with the army of storm troopers. This etching personified nazi propaganda related to Wessel. This artwork brought fame to Casberg, he became well-known among colleagues and general public. The image created by Casberg hit the mark and served a cover to 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 military books, 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 awards and orders of times of all German kings. "Cigarette albums" were widely popular during the Third Reich and were used not only by manufacturers to attract customers, but also for ideological purposes. As a professional uniform artist Paul Casberg creates a series of illustrations featuring uniforms and German armed forces routine, which served as the motive for the cigarette cards for the albums "Die Reichswehr" and "Unsere deutsche Wehrmacht". As an artist Casberg designs some issues of the annual manual for Wehrmacht soldiers from the Reibert series "Der Dienstunterricht im Heere". 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 sentiments determined the development of new trends in industry. One of them became production of short-blade dress weapon. Within the period 1934 -1938 specific patterns of daggers and hewers were developed for many organizations. For the approved patterns manufacturing firms got financial rewards that is why large manufactures hired skilled 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 cooperation Casberg created a new logotype for the firm, designed products catalogue, but the most important fact was that his sketches became not only works of the firm but national patterns of edged weapon. Casberg's artworks decorated walls of the headquarters and were used in the advertising campaign. Working on dagger designing Casberg demonstrated mastery and ingenuity creating numerous models of edged weapons. Mass production daggers as well as individual patterns of edged weapon were made from his sketches. But not all his works shared the same destiny, some sketches were not accepted, 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 unapproved artworks. Unfortunately, LTC (RET.) Thomas M.Johnson sold out his collection and now it is unavailable for public. Some of Casberg's unapproved sketches can still be found among archive documents of the C. Eickhorn company. 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 committed to design 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 scabbard was covered with light-blue sharkskin matching 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 luxurious and refined. Other patterns are executed in a less sophisticated but 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 for 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 not been found yet.

In addition to daggers and sabers Casberg worked on designing of uniform elements, gorgets, belt buckles and badges. Since April 1937 the artist was employed as a military art specialist in the National Inspection for riding and driving instruction that reported to the SA  Supreme Command. For the Riding corps Casberg designed badges and miniatures featuring horses. These badges were manufactured by Preussische Bergwerks- u. Hütten AG (Preussag) and Ernst u. Hüller, Pforzheim.

One of Casberg’s artworks portraying the head of a horse was used in 1938 to design the cover of the magazine "Deutsche Reiterheftе" that was the official magazine 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 uniform elements. In 1936 was published the book "Abzeichen des Reichsarbeitsdienstes" and in 1940 “Der Dienstkleidung der Teschnichen Nothilfe”. 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, 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-Supreme Command from the supposed promotion of Casberg. 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 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 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 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 artist’s health. 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, but only in 1940 separate sketches of uniform were gathered into a book.

In addition to these works Casberg created several 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. Casberg continued to enjoy authority as a respected artist, since not every artist could approach the level of his skill. So, for example, in 1943, the army leadership committed to Casberg to develop the design of the sniper insignia, after numerous attempts to select a suitable option among sketches submitted for consideration by other artist. It so happened that due to inner disagreements among the army leadership, the establishment of this insignia was repeatedly postponed. This, in turn, resulted in multiple redesigning of the insignia. As a result, Casberg's proposed sketch was not accepted. However, the approved version of the insignia, having undergone a number of design changes, still retained the original idea of the artist.

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 art studio until it was destroyed during bombing of Berlin in 1944. According to some sources till the end of the Second World War Casberg lived in Berlin. There is little information on his further fate. With the downfall of the Third Reich Casberg disappeared. Maybe the true about nazi crimes that was discovered after the war and ruining of 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. It is known that Casberg died on June 21, 1946 in Berlin. 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.