lithographic process he had learned in France. Friedländer breakthrough moment came when he received large orders of posters advertising Carl Hagenbeck's animal shows in 1883 and 1884. To accommodate his growing business needs, in 1884 Friedländer purchased a photolithographic press capable of making 600 prints per hour. In the following years he expanded his business and its machinery to include manuscript publishing capability. The addition necessitated a move to a larger space which transpired in 1887. In 1890, Friedländer published the first issue of Der Kurier ("The Courier"), a magazine founded by his publishing house, which concerned matters of interest for showmen, traders, circus workers, vaudeville and stage performers, and related professions. In 1891 Der Kurier was run full-time by Adolf Fischl. In 1901 it was edited by Max Cohn but ceased publication that same year. The following year Friedländer established, Der Anker ("The Anchor"). Billed as an international trade magazine for showmen and artists, it operated from 1902 to 1928. From the mid-1890s Friedländer also printed postcards, a new medium that was in particularly high use by circus workers and artists. His main business was, however, poster printing. Starting in the early 1890s, Friedländer printed approximately 100 different posters designs annually. By the turn of the century the number had doubled. Friedländer died on 7 July 1904. According to his obituary appearing in the 9 July 1904 issue (No. 159) of the Hamburg Generalanzeiger (The Hamburg General Gazette), his death came about "nach langem schweren Leiden" ("after very severe suffering"). Friedländer's press, 1904 to 1935 After his death, Friedländer's sons, Ludwig Friedländer (1877–1953) and Max Otto Friedländer (1880–1953) took over his company's operations. When World War I broke out in 1914, the entertainment industry came to a virtual standstill, which had a concomitant effect on the need for the company's posters. Print volume rose in the 1920s, but then fell off sharply to a level of about 100 poster designs per year as a result of the Great Depression. In addition to working at the family business, Otto Max also managed the Flora Theater until 1934, at which time he traveled with the Sarrasani circus to South America. Finding little possibility of an existence there, he returned to Germany in 1935, only to be quickly sent to a concentration camp. Ludwig transitioned the company to use of modern offset printing, working with chief draftsman Wilhelm Eigener (1904–1982) who specialized