cranach press (14 Ergebnisse)

Hardcover. Zustand: Very Good. Zustand des Schutzumschlags: Good. No publication year stated, author's signature and best wishes in German is dated 1988. Book is very clean and tight, dust jacket has a couple of small spots. Signed by Author(s).

Hard Cover. Zustand: Fine. Zustand des Schutzumschlags: Very Good. A clean, unmarked book with a tight binding. Full dark gray cloth boards. Dust jacket folds are a bit askew. 5 3/4"w x 7 3/8"h. 80 pages. Five sketches on English actor and stage designer Gordon Craig accompanying five unpublished works (drawings) by Craig. No date shown; circa 1980's.

Hardback. Zustand: Near Fine. No Jacket. later edition. Cranach Press. William Shakespeare, Die Tragische Geschichte von Hamlet Prinzen von Daenemark in Deutcher 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.

Hardcover. Zustand: Near Fine. Zustand des Schutzumschlags: Near Fine. First Edition. Copy 406 of 450 copies. 4to. 60 pages. Printed on fine paper. Nice copy in plain orange DJ. Housed in publisher's slipcase (worn and split).

[Text in Latin]. Pp. 32+[2](colophon, blank), text printed in red & black, 11 wood-engraved illustrations (7 full page), and 18 decorative initials by Eric Gill; narrow roy. 8vo; qr. vellum, spine lettered in gilt, buff papered boards with vellum corner tips; t.e.g., others uncut; plain dust wrapper, slightly foxed, edges lightly rubbed, the backstrip slightly browned; within papered slipcase matching the dust wrapper, slightly soiled, edges lightly rubbed and faintly browned; book label of David Levine, Sydney, on the upper pastedown, outer leaves and edges slightly foxed; Cranach Press, Weimar, 1931. Latin version; one of 200 numbered copies thus (total edition 268). Gill 284; Brinks 91 (and also pp. 146-167). *One of the last books from the Cranach Press; issued in three versions: French, German and Latin. Although located in Germany, Count Harry Kessler's press was directly inspired by the English private presses.

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.

No 42 of 250 copies on hand-made paper of the French edition (the total edition was 292, and there were also English and German editions). 43 woodcut illustrations by Aristide Maillol, head-line of the title page and initial letters cut by Eric Gill with ornament by Maillol. Italic type designed by Edward Johnston and the punches for the main type were cut by Edward Prince, supervised by Emery Walker, based on Jenson type designed in Venice in 1473. Hemp and linen paper made by Gaspard Maillol and known as Maillol-Kessler paper. Printed under the supervision of Count Kessler and J.H. Mason at the Cranach Press. Folio, loose as issued in the original brown printed paper wrappers with image by Maillol printed on the front and housed in the original quarter parchment portfolio with linen edges, lettering printed in sanguine on the upper cover and spine and with the original linen ties. A remarkably fresh and clean copy, the portfolio has some wear, dust soiling and rubbing with some wear to the fold-ins but it has done its job in protecting the book. The first and as the Press's historian Brink writes "arguably the greatest book of the Cranach Press", dedicated by Harry Kessler to "the master of book-printing, the friend and adviser of William Morris, Emery Walker". The Cranach Eclogues had a long slow birth having been interrupted by the First World War. Most of the designs were done by 1914 and printed began early that year. It was then put on hold during the war, in which the pressman Erich Dressler was killed, and resumed in June 1925. The English edition was printed even later in 1927. Many see it as the most beautiful book of the Cranach Press, even taking into account the striking Hamlet, and Kessler wrote about deeply moved he was when looking at Maillol's Eclogues woodcuts "here an art has been created which answers in the affirmative to the world as a whole, and which restores to this world its innocence and its bliss, which is devoted to it in awe and in bliss, and therefore is an art which is religious in the Greek sense".

No. 105 of 225 copies (Nos. 201 to 225 were not for sale). There was also a German edition and a French edition. Folio. 116p. Printed on Maillol-Kessler paper hand-made from pure hemp fibre and linen, and sold by Emery Walker. Eric Gill designed and cut the title and lettering around and fourteen initials ornamented by Maillol. With forty-three illustrations drawn and cut in wood by Aristide Maillol (1861-1944). Set by Erich Dressler and Walter Tanz in Jensen roman and Johnston italic. Bound in full crimson crushed morocco with simple vertical gilt spine title of artist and author, t.e.g. (The binding is signed in blind on the rear turn-in which is hard to decipher, but we believe it to be W.L. Smith & Sons). The Book as a Work of Art, The Cranach press of Count Harry Kessler, no. 67; The Artist & The Book, no. 172. Occasional light spotting to the text, else fine with slight bumps to outer corners No. 105 of 225 copies (Nos. 201 to 225 were not for sale). There was also a German edition and a French edition.

Gill, Eric (illustrator). Tall octavo. 32, (2)pp. From the French edition of 164 copies, this is one of 50 on Japon. Printed in blue and black, and illustrated throughout with eleven wood engravings and decorative initials by Eric Gill. This ancient dialogue between the Bride and Groom is one of the most lyrical love passages of all time. Bound in full orange morocco by Otto Dorfner, with gilt tooling and titling to covers. T.e.g. Small spot of discoloration to upper cover, otherwise a fine copy of a book of distinction, sought after as a major illustrated private press book and one of the outstanding efforts of the Cranach Press. It is worth noting that this book appeared at a time when the effects of the Great Depression were really being felt. This was not lost on Kessler, who remarked in a letter to Gill that "one must hope that a sufficient number of people and fortunes have survived the crisis and will continue to buy fine books and thus make their production possible." Housed in a fleece-lined drop-back box. (Müller Krumbach 56; Gill 284; The Artist & the Book 121).

Illustrations drawn and cut on the wood by Aristide Maillol, title head-line and initials by Eric Gill Of an edition of 264 numbered copies, this is one of 33 on imperial Japanese paper (one of 25 for sale) Folio Very nice copy; inscription "A.J. from E.F." on front free end-paper; with the prospectus loosely inserted Original limp vellum, spine lettered in gilt, silk ties with gilt dots to vellum sides where the silk emerges.

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.

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.

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.