Cranach Press (11 results)

cloth, paper spine label. Cranach Press (illustrator). 4to. cloth, paper spine label. 184, (2) pages. Bibliography and history of the Cranach Press in Germany. Illustrated. A fine copy.

self-paper wrappers. Cranach Press (illustrator). 4to. self-paper wrappers. 14 pages. A history and bibliography of the press. With the private bookplate of the H.P. Kraus Reference Library on the inside front cover. A near fine copy. Decorated with woodcuts. This is an English translation of the 1931 Cranach Press edition done by Gallery 303 and John Dreyfus and Heide Gekeler.

Revised and Enlarged. 4to. 453pp. + [iii]. 272 mainly colour plates. Prospectus for The Songs of Songs and Vom Ornament zur Linie loosely inserted, from the Library of Jerrold Northrop Moore, gilt lettered red cloth, in black slipcase as issued. One of a Limited Edition of 400 Copies. Additional postage may be necessary US$200.

cloth, slipcase. Cranach Press (illustrator). 4to. cloth, slipcase. 456 pages. First edition in English (from the 2004 German edition). A fine copy. The Cranach Press, though located in Germany, was inspired by and became an integral product of the English private press movement. Following advice from Emery Walker, new typefaces were drawn by Edward Johnston and cut by Edward Prince and George Friend; then Harry Gage-Cole was called in as pressman to print the wood-engravings of Gordon Craig, Eric Gill, and Aristide Maillol. Their work is recorded in this lavishly illustrated book. The Book as a Work of Art includes Essays by John Dreyfus, Anne Hyde Greet, Gunnar Kaldewey, J.D. Brinks, Renate Müller-Krumbach, Lindsay Newman, among others, with extensive documentation and a new and illustrated bibliography of the Cranach Press. Designed by Sabine Golde and John Dieter Brinks, in a black slip-case. Distributed for Triton Verlag, Berlin, Germany and Chapin Library of the Williams College, Williamstown, MA.

Hardback. Condition: 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.

CRANACH PRESS; LAFARGUE, Marc|MAILLOL, Aristide|KESSLER, Count Harry|GILL, Eric (illustrator). The Cranach Press Virgil, With Woodcuts by Aristide Maillol CRANACH PRESS. GILL, Eric, [illustrator]. KESSLER, Count Harry. LAFARGUE, Marc, [translator]. MAILLOL, Aristide, [illustrator]. VIRGIL. Eclogae. [The Eclogues of Vergil]. Les Eclogues de Virgile, Texte Latin et Traduction Francaise de Marc Lafargue. Illustrations D'Aristide Maillol. Weimar: Cranach Presse, 1926. Full Description: [CRANACH PRESS]. VIRGIL. KESSLER, Count Harry. LAFARGUE, Marc, [translator]. MAILLOL, Aristide, [illustrator]. GILL, Eric, [illustrator]. Eclogae. [The Eclogues of Vergil]. [Les Eclogues de Virgile, Texte Latin et Traduction Francaise de Marc Lafargue. Illustrations D'Aristide Maillol (taken from front wrapper text)]. Weimar: Cranach Presse, 1926. One of 250 numbered copies on Kessler-Maillol handmade rag Montval paper (of 292 copies in the total French edition), this being number 43. Quarto (12 7/8 x 10 inches; 328 x 255 mm.) [6], 110, [8] pp. Uncut. Forty-three original woodcuts by Maillol (including the cut on the front wrapper). Title-page and initials designed by Eric Gill. A German and an English version were printed simultaneously Loose as issued in original tan printed wrappers. All edges uncut. Housed in a quarter vellum portfolio. Portfolio with silk ties. Some minor foxing throughout. Portfolio with some wear; vellum and boards a bit soiled and some of the edges splitting. Still a very good copy. Kessler founded the Cranach Press in 1913. Influenced by the English private presses, Kessler achieved distinction in his books by employing experienced artists and craftsmen. Under the supervision of Emery Walker, Edwin Prince cut the punches for the roman type after Nicolas Jenson's 1470 Venetian type, Edward Johnston developed the italics and Eric Gill cut the initials. Maillol and his nephew developed a special handmade paper in a workshop at Montaval, France. A classical spirit pervades the Eclogae, with the harmonious composition of the type playing counterpoint to the slightly archaic grace of the figures. The Artist & the Book 172. HBS 69568. $4,500.

Neu ins Deutsche übertragen von Rudolf Alexander Schröder. 2 vols. issued in successive years. Each one of 425 copies printed on handmade paper, of which 350 were for sale. Vol. 1 with three woodcuts by Aristide Maillol who also supplies ornaments to two initials, vol 2. with two woodcuts by Maillol and one ornament to an initial, title page canto headings and initials designed by Eric Gill. 4to., [vi], 178pp., [2] and [vi], 168pp, [3], 28.5 x 21.5cm. Original publisher's quarter vellum decorated and lettered in gilt and red, decorated paper boards with a design after Eric Gill based on a Mycenaean motif in red. Printed by R. Wagner Sohn under the direction of Count Harry Kessler, Weimar, published by Insel Verlag, Leipzig.     Very good, covers and spine unusually bright and clean, endpapers with a strip of glue residue presumably from a protective cover, short tear to foredge of vol. 1. pp. 5-6. Published three years before Count Harry Graf Kessler founded his own Cranach Press, Die Odyssee was an early attempt 'to produce a book as perfect as possible' using the trade printing workshops and materials available to the established Insel Verlag publishing house. 'As an intellectual and spiritual achievement Kessler's edition of the Odyssey, though strictly speaking not yet a Private Press book, was of singular importance. like Wagner's Lohengrin that paved the way for The Ring. Kessler's Odyssey had the charming vigour of youthful adventure while already displaying many traits of a masterpiece, although it remained in itself a work almost as perfect as it could have been' (John Dieter Brinks, The German Homer in The Book as a Work of Art, 2005).

CRANACH PRESS; LAFARGUE, Marc|MAILLOL, Aristide|KESSLER, Count Harry|GILL, Eric (illustrator). The Cranach Press Virgil, With Woodcuts by Aristide Maillol CRANACH PRESS. GILL, Eric, [illustrator]. KESSLER, Count Harry. LAFARGUE, Marc, [translator]. MAILLOL, Aristide, [illustrator]. VIRGIL. Eclogae. [The Eclogues of Vergil]. Les Eclogues de Virgile, Texte Latin et Traduction Francaise de Marc Lafargue. Illustrations D'Aristide Maillol. Weimar: Cranach Presse, 1926. Full Description: [CRANACH PRESS]. VIRGIL. KESSLER, Count Harry. LAFARGUE, Marc, [translator]. MAILLOL, Aristide, [illustrator]. GILL, Eric, [illustrator]. Eclogae. [The Eclogues of Vergil]. [Les Eclogues de Virgile, Texte Latin et Traduction Francaise de Marc Lafargue. Illustrations D'Aristide Maillol (taken from front wrapper text)]. Weimar: Cranach Presse, 1926. One of 250 numbered copies on Kessler-Maillol handmade rag Montval paper (of 292 copies in the total French edition), this being number 141. Quarto (12 7/8 x 10 inches; 328 x 255 mm.) [6], 110, [8] pp. Uncut. Forty-three original woodcuts by Maillol (including the cut on the front wrapper). Title-page and initials designed by Eric Gill. A German and an English version were printed simultaneously Loose in original tan printed wrappers. All edges uncut. Housed in a quarter vellum portfolio. Portfolio with silk ties. Some very light scattered foxing, else a wonderful, near fine copy. Kessler founded the Cranach Press in 1913. Influenced by the English private presses, Kessler achieved distinction in his books by employing experienced artists and craftsmen. Under the supervision of Emery Walker, Edwin Prince cut the punches for the roman type after Nicolas Jenson's 1470 Venetian type, Edward Johnston developed the italics and Eric Gill cut the initials. Maillol and his nephew developed a special handmade paper in a workshop at Montaval, France. A classical spirit pervades the Eclogae, with the harmonious composition of the type playing counterpoint to the slightly archaic grace of the figures. The Artist & the Book 172. HBS 69423. $5,500.

11 wood-engravings and 18 wood-engraved initials by Eric Gill. Jenson Antiqua type cut for the Press by E. Prince, printed in red and black throughout. One of 200 paper copies, out of a total edition of 268 numbered copies (this no.41) and editions in French and German. Tall 8vo., original half parchment over buff paper boards, spine lettered in gilt, t.e.g., others uncut, in original dust jacket (spine of jacket a little darkened with a few tiny chips).t. An extraordinarily bright and fresh copy. A superb copy. Inserted loose is a 4 page list of former publications of the Cranach Press, plus two prospectuses with an original Gill engraving, one on paper and one on japon, for the English edition distributed by Douglas Cleverdon. Kessler seems to have got the very best out of Gill, with a darker mood and deeper intensity in his engravings than was usual for the artist. Some of this is achieved by the style of printing but much must have been due to Kessler's tight control of the production and strong influence over Gill's work for it. The partnership produced a truly remarkable work of art.

Number 116 of 225 copies, with an additional 33 de luxe copies on Japanese paper and six on vellum. 43 illustrations drawn and cut on the wood by Aristide Maillol printed in black, along with two complete initials, 14 ornaments for initials and pressmark, title designed and cut by Eric Gill, along with lettering around the pressmark. 4to., [9], 110, [6], 4 pp. 33x26cm. Original full red Morocco by W.H. Smith & Son, spine lettered in gilt. Weimar, The Cranach Press. Very good, upper cover with a spot of minor soiling, lightly foxed throughout, an occurrence which seems endemic with this edition, but overall attractive and presentable.  Described by Harry Graf Kessler as an attempt 'to create a complete harmony between type area, illustration and paper by which, as was the case in Carolingian manuscripts and in the illustrated incunabula, all elements of the book are combined to a complete work of art' (Kessler, from the prospectus), the Cranach Press Virgil is one of the greatest achievements of 20th century fine printing.    The design of the page was influenced by Edward Johnston, who explained to Kessler that the strict rules of William Morris should be seen only as 'a jumping off ground, a starting point, which was to be left behind. The guiding principle should be one's artistic sense' (as quoted in J.D. Brinks, The Art of the Cranach Press). Maillol's woodcuts radiate a prelapsarian naivety, which 'restores to this world its innocence and its bliss. and therefore is an art which is religious in the Greek sense' (Kessler, Warum Maillol Vergils Eklogen illustriert hat), the result of 'a love which burns out from its object all which will not feed its fire. a love which is not, like the academic one colder than nature, but warmer, more pregnant, more stimulating' (Kessler, Aristide Maillol). 'The book did not owe its supreme unity to the proportions of the type area or to the balance of picture and letters, but to Kessler's musical - or poetical - sense of the unity of his vision' (J.D. Brinks, The Art of the Cranach Press) .

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). Spine 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.