cranach press (6 Ergebnisse)

Hardback. Zustand: Near Fine. No Jacket. later edition. Cranach Press. William Shakespeare, Die Tragische Geschichte von Hamlet Prinzen von Daenemark in Deutscher sprache, translated by Gerhart Hauptmann, illustrated by Edward Gordon Craig, Weimar: Cranach Presse, 1929, facsimile edition, New York: Benjamin Blom, 1972, text printed in red and black on pale cream laid paper, 74 woodcut illustrations by Edward Gordon Craig, typography designed by Edward Johnston, printed in red and black in double column, 8 pp. account of the printing of the Cranach Press Hamlet in pocket to rear pastedown, top edge gilt, vellum-backed boards, lettered to spine and upper cover in orange, a Fine copy, with original slipcase some minor wear to extremities, folio.

Wood engravings by Edward Gordon Craig, and wood-engraved lettering by Eric Gill, typeface designed by Edward Johnston, after that used by Fust & Schoeffer in their Mainz Psalter of 1457. The hemp and linen fibre paper was made by Maillol. No.115 of only 230 copies of the German edition. Folio, original vellum backed, salmon pink paper covered boards with lettering in red on spine and upper cover. Housed in the original card slipcase. A superb copy with only a little browning pp.14-18. Intended by Count Kessler as the crowning glory of his private Cranach Press, Hamlet was 17 years in gestation from when he had seen Gordon Craig's black figures for his Moscow Hamlet and decided that spectacular woodcuts could be printed from them. The result is one of the most important and spectacular works of the private press movement.

Hardcover. Zustand: Near Fine. First edition of this translation and first edition in English. Translated from the German by V. Sackville-West and Edward Sackville-West. Large octavo. 132pp. Quarter vellum gilt and lavender paper-covered boards, topedge gilt. Text in English and German on facing pages. Small owner name stamp and Johannesburg bookseller ticket on front pastedown, a little scattered foxing else a near fine copy in very good or better spine-tanned original unprinted dust jacket and original unprinted slipcase with a bit of browning and moderate wear. Copy number 179 of 230 numbered copies Signed by Vita and Edward Sackville-West. Beautifully designed and produced, Count Harry Kessler planned the format of this volume, Eric Gill designed and cut the initials on wood, and printed for the Hogarth Press by the Cranach Press on handmade Maillol-Kessler paper with the watermark of the Cranach Press. Seldom found in dust jacket and box.

Hardcover. First edition. 31 pages, 26 x 13.5 cm. Limited edition, copy 180 of 200 designed by Count Harry Kessler: printed in red and black in Jenson Antiqua on hand-made Maillol Kessler paper with watermark of the Cranach Press. 11 wood engraved illustrations (seven are full page) and 18 initials by Eric Gill. Laid-in, "Former Publications Of The Cranach Press." which lists three tittles -- The Ecologues of Virgil, Hamlet & The Duinese Elegies. An almost as new copy save for a few small toned fore-edge spots. THE ARTIST AND THE BOOK. 121. EVAN GILL 284. Quarter vellum and gilt lettered tan parchment boards. Fine in fine plain wrapper in matching fine board slipcase.

161/200 COPIES (from an edition of 268) printed on Maillol-Kessler handmade paper, running-titles printed in red, 11 wood-engravings (7 full-page) and 18 initials, all designed by Eric Gill, one or two light spots, pp. 31, tall crown 8vo, original quarter vellum with pink boards, vellum-tipped corners, backstrip lettered in gilt, t.e.g., others untrimmed with some light spotting, a few faint spots to endpapers also, front pastedown with the elegant bookplate of James L. Thielman, plain dustjacket with browned backstrip panel and lightly chipped at extremities, slipcase, very good. The text printed entirely in Latin; German and French language editions were also issued, using the same engravings.

365 x 242 mm. (14 1/4 x 9 1/2"). 202 pp., [1] leaf.Translated by Gerhart Hauptmann. FINE ORIGINAL BURNT ORANGE MOROCCO by O. Dorfner of Weimar (signed on rear turn-in), covers with single gilt-ruled border, raised bands, spine compartments ruled in gilt, gilt spine titling, turn-ins ruled in gilt, top edge gilt, other edges untrimmed. In a fine matching morocco-lipped slipcase lined with fleece. Illustrated throughout with woodcuts in the text by Edward Gordon Craig; this copy WITH TWO FULL-SIZE VELLUM LEAVES CONTAINING PRINTED WOODCUTS AND SIGNED BY CRAIG laid in. Printed in red and black. With the Hamlet stories from Saxo Grammaticus and Belleforest in Latin and French in margins surrounding the text. With Prospectus laid in at front. Schröder, p. 9; Franklin, p. 164; Ransom, p. 253; "A Century for the Century" 21 (English version). âSpine gently and evenly sunned to a less reddish brown, traces of white residue from leather preservative to front board, but AN ESPECIALLY FINE COPY, the binding unworn, and IMMACULATE INTERNALLY. A deservedly famous combination of visual daring, printing artistry, and textual scholarship, this is one of the major achievements of private press printing. Undertaken in what Franklin calls "a perfectionist spirit," the book brings together the most glittering names in English and German private printing at the time. In addition to the presence of the woodcuts by Craig, the typographical arrangement of the volume was done by Count Harry Kessler, the title was cut by Eric Gill, the type (in 18-, 12-, and 10-point black letter) was designed by Edward Johnston after that used by Fust and Schoeffer in their Mainz Psalter of 1457, and was cut by Edward Prince (completed after his death by G. T. Friend), and the paper was made by a process devised jointly by Kessler and Aristide and Gaspard Maillol. Franklin says that "anybody who examines the Cranach Press 'Hamlet' must agree it is worthy of its reputation. The paper, superficially like Bachelor's Kelmscott, seems softer and more friendly, appropriate for the expressionist style of Craig's woodcuts. . . . These designs, and Gill's in the Golden Cockerel Chaucer, form the bravest artistic adventure among all private press books." It is increasingly difficult to find well preserved copies of this title, especially in Otto Dorfner bindings. Master binder Dorfner (1885-1955) taught at the School of Applied Arts in Weimar and at the Bauhaus school before founding his own to teach the craft. He was awarded a number of international awards for his bindings, and is particularly noted for his work with the Cranach Press. Dorfner was held in high enough esteem to merit inclusion on the Nazi's"Gottbegnadeten List"("God-gifted list" or "Important Artist Exempt List") of artists essential to Nazi culture. This 36-page list, assembled in September 1944 byJoseph Goebbels andAdolf Hitler, exempted the named artists from mobilization in the final stages of World War II. No. 8 OF 230 COPIES ON HANDMADE PAPER, of a total edition of 255.