Victor Hammer collection (Library of Congress Finding Aid)

Contents

Publications, 1930-1993
	All books contain the bookplate of Carolyn R. Hammer, designed by English wood engraver Will Carter and printed at his Rampant Lion Press. They are arranged by call number in the Rare Book and Special Collections Division’s Press Collection.
	Arranged alphabetically within each press listing.
	Books from the Stamperia del Santuccio
		11 volumes
		Bargellini, Piero. The Unquiet Conscience (1958).
			One of two unnumbered copies, in linen-covered boards.
		Cassiodorus,Flavius Magnus of Scribes (1958). Copy No. 40.
			Cased in paper over boards.
		Fiedler, Conrad.Three Fragments (1951). Opus XII. No. 28. Victor Hammer’s personal copy, fully bound in parchment, with paper-covered box, lettered in gilt on front cover and spine. Prospectus laid in.
		Hall, Joseph. Samson (1972). No. 55
			Autographed by illustrator Fritz Kredel; bound in decorated paper- covered boards with leather spine by Lucy Crump, with her binder’s label. Prospectus laid in.
		Hammer, Victor.Concern for the Art of Civilized Man (1963). No. 50. Victor Hammer’s personal copy.
			Bound in full crushed tan morocco with gilt lettered spine, and with leather and marbled paper slipcase by Lucy Crump; binder’s stamp in blind in rear interior panel.
		Hammer, Victor.Memory and her Nine Daughters, the Muses (1956). Opus XIII. Copy No. 13. Victor Hammer’s personal copy
			Bound in full crushed tan morocco with all edges gilt and with vellum label hand-lettered in black in Victor Hammer’s Andromache characters; with felt-lined leather-edged slipcase Inscribed to Carolyn Hammer
		Hammer, Victor. Memory and her Nine Daughters, the Muses (Stamperia del Santuccio for George Wittenborn, Inc., New York City, 1957). No. 256.
			Bound by Lucy Crump in full crushed tan morocco with seven raised bands and all edges tinted in blue.
		Holderlin, Johann Friedrich.Gedichte, Entwurfe zu Gedichten und Bruchstücke aus dem Jahren MDCCXCI – MDCCCIV (1946-1949). Opus XI. The masterpiece of Victor Hammer’s printing career and a significant rarity Hammer’s personal copy
			Bound in full crushed brown morocco, lettered in gilt in his own American Uncial type on front panel and spine; with suede-lined linen-covered box with leather label lettered in gilt in Hammer’s own American Uncial type. Binding and box by the celebrated New York binder Hope Weil.
		Labé, Louise. Les Vingtquatre Sonnets (1957). Opus VII. No. 9.
			Bound in full crushed crimson morocco with double-fillet panel on front and back, gilt title lettering in Victor Hammer’s Pindar caps; four gilt raised bands on spine and spine lettered in gilt; blue paste-paper endleaves with double gilt fillet on inner dentelles front and back; gilt fillet on edge of boards; all edges gilt; flannel-lined paper-covered slip-case edged in leather. (The binding is a matched companion to Tasso, below.)
		Milton, John.Samson Agonistes (1930-31). Opus I. No. 47.
			Victor Hammer’s personal copy of the first work of his presses, bound in full pebble-grained morocco with a single gilt-fillet panel on cover. Red paste-paper covered slipcase. Slight foxing. Opus X.
		Tasso, Torquato.Sonetti. (1933)
			Victor Hammer’s personal copy, unnumbered, bound in full crushed crimson morocco with double-fillet panel on front and back, gilt title lettering in Victor Hammer’s Pindar caps; four gilt raised bands on spine and spine lettered in gilt; blue paste paper endleaves with double gilt fillet on inner dentelles front and back; gilt fillet on edge of boards; all edges gilt; flannel-lined paper-covered slip-case edged in leather. (The binding is a matched companion to Labé, above.)
	The Wells College Press
		1 volume
		Alarcon, Pedro Antonio de., The Three Cornered Hat (1944) .
			Illustrated with woodcuts by Fritz Kredel, and all woodcuts tinted by hand. Bound with untrimmed edges in paper-covered boards with printed spine; printed dust jacket with woodcut tinted by hand.
	C. The Anvil Press
		6 volumes
		Hammer, Carolyn R., comp. Chapters on Writing and Printing (1963). Copy No. 20.
			Bound with edges untrimmed in paper-covered boards with printed paper label.
		Hammer, Victor. The Forms of Our Letters (1988). Copy V.
			Bound in paper-covered boards with paper label printed in two colors. Order form laid in.
		Hammer, Victor. A Second Book of Fragments and The Genius of Rhodes (1991). Copy No. 9.
			Bound in paper-covered boards with buckram spine; printed paper label; title printed on front panel and Victor Hammer press mark on rear panel.
		Li Po. The Poems of Li Po (1984). Case bound, to include sound disc and finding list.
			Poetry bound in black buckram over boards with printed paper label in black and red; finding list in gray paper-covered boards. Both housed in laced binder of black buckram over boards with paper label in red and black.
		Rothenstein, John. Victor Hammer: Artist and Craftsman (1978)
			Text with nineteen color plates bound in gold-colored, cloth-covered boards, lettered on spine. Printed in Verona, Italy, by Martino Mardersteig’s Stamperia Valdonega.
		Shakespeare, William.The Tempest (1993). No. 50, Carolyn Hammer’s personal copy
			three-quarter bound in white leather with white spine and generous front sections of the boards covered in white leather, and with maiddles of front and back boards covered in a vertical band of gray, gold-flecked paste-papers; spine lettered in gilt in American Uncial type. Separate gray wrapper containing a print of Gloria Thomas’s chiaroscuro two color woodcut portrait of Shakespeare, printed at the Windell Press, sewn in silver thread. The two items placed in a slipcase covered with gold-flecked gray paste papers; binding and slipcase by Gabrielle Fox of Cincinnati.
	The Hammer Press
		1 volumes
		Hammer, Victor. A Theory of Architecture (1952).
			Title-page in red and black with architectural metal engraving of Hammer’s chapel at Château Kolbsheim. Bound in paper-covered boards with printed spine.
	The Dolmen Press
		1 volumes
		Joyce, James. Dubliners (1986).
			Bound in cloth over boards, gilt-lettered spine, white lettered front panel and white decoration on back panel, with top edge gilt; illustrated with lithographs by Louis le Brocquy. Correspondence with publisher laid in. The last book of Liam Miller.
	The Spiral Press (Joseph Blumenthal)
		1 volumes
		Raymond McLain,Requiem for Victor Hammer (1967).
			Bound with edges untrimmed in maroon oriental paper over boards with paper label on front panel; illustrated with plate of drapery study by Hammer and his printer’s mark in red. Prospectus laid in.

Victor Hammer collection

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