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BOX 42-48 Reviews, catalogues, and Bibliographical Data, 1930-1997
A variety of reviews, catalogues, and announcements enumerated in David Farrell’s secondary bibliography in Victor Hammer Artist and Printer. Includes approximately 150 files.
Arranged as received.
FOLDER 1 Clay Lancaster, review of Fiedler, Architecture
FOLDER 2 James D. Birchfield, “Victor Hammer and the Arts and Crafts,” Lecture, Boston, Society of Printers, 5 March 1997
FOLDER 3 Sophie Eisenhut,“Victor Hammer A Renaissance Man,” Block Gallery, Northwestern University
FOLDER 4 “The French Poems,” manuscript for afterword by Robert E. Daggy to Thomas Merton’s Four Poems in French
FOLDER 5 Program for reception marking gift of Victor Hammer drawings by John Gaines in McEllistrem Room, Gaines Center for the Humanities, University of Kentucky
FOLDER 6 Victor Hammer and The Wells College Press (Aurora, NY, 1993), by Bruce Bennett and Robert Doherty
FOLDER 7 The Kentucky Review, Vol. XI, No. 3 / autumn 1992: special issue,“The Book Arts”
(2 copies)
FOLDER 8 Printing History, Vol. XVI, Nos. 1 and 2, 1994: “Victor Hammer — An Irish Connection,”by Dermot McGuinne
FOLDER 9 The Merton Seasonal, Vol. 21, No. 1, / Spring 1996, “Identifying Hammer editions of Merton”
FOLDER 10 American Book Collector /Review of Victor Hammer: Artist and Printer
FOLDER 11 Reviews of Victor Hammer: Artist and Printer appearing in Fine Print; American Book Collector; Antiquarian Book Monthly Review
(3 copies).
FOLDER 12 Xerox copy of Three Fragments, with introduction by Victor Hammer.
FOLDER 13 Two copies of Victor Hammer, “Industrial Methods of Work and Socialism,” Catholic Art Quarterly, 1959.
FOLDER 14 Pamphlet on traditional Austrian clothing, 1936, illustrated by Victor Hammer
FOLDER 15 Bühne, Welt und Mode, No. 76, 10 April 1927, containing an autobiographical sketch of Victor Hammer, illustrated with photographs; with translation.
(2 copies of publication)
FOLDER 16 Listing of Victor Hammer’s paintings from Die Wunsch, Who’s Who data form.
FOLDER 18 Victor Hammer, “A Chapel is Built,”Liturgical Arts, Vol. 12, No. 3, May 1944.
(One issue and one offprint)
FOLDER 19 Sebastian Carter,“Victor Hammer,” Matrix, Vol. 7, Winter 1987.
(One offprint, one Xerox copy)
FOLDER 20 Notes and self-critiques of On Classic Art
(14 pp. manuscript and typescript; 15 pp. proof from type and notes)
FOLDER 21 Victor Hammer, “Education for What?,” Education, Vol 61, No 9, May 1942.
FOLDER 22 Victor Hammer Centennial symposium poster, University of Kentucky 1981.
(4 copies)
FOLDER 23 Otto Muller, “Victor Hammer: Erläuternde Anmerkungen zur Pindar Schrift,” Salzburg, printed folded sheet.
FOLDER 24 Harry Duncan, reminiscence of Victor Hammer in Against the Grain, ed. by Robert Dana.
FOLDER 25 Marilyn Robb, “This Summer in Chicago,”news article which includes a review of the 1948 Renaissance Society exhibition in which Victor Hammer participated.
FOLDER 26 Prospectus for Victor Hammer Artist and Printer
FOLDER 27 Poster, New York Public Library Victor Hammer exhibition (ca. 1945).
FOLDER 28 Xerox copy of Osterreische Blatter plates and listings of work by Victor Hammer.
FOLDER 29 Hariett McDonald Holladay’s clippings file on Victor Hammer
(3 pieces).
FOLDER 30 Herbert Wacker “Ausstellung Victor Hammer”(Review of exhibition)
BOX 46 FOLDER 1 Paul Standard, biographical note on Victor Hammer and review of Four Dialogues.
2 Xerox copies.
FOLDER 2 “Seit drarnalsist deutsches geistiges...” manuscript by Victor Hammer, ca. 1930-1935. [Xeroxed] with translation; about the German language.
(2 leaves)
FOLDER 3 Prof. Dr. Georg Haupt, “Die Hammer-Presse in Florenz,”Philobiblon, Vol. 4, No. 8, 1931, with manuscript copy. re Victor Hammer and his press in Florence, Italy.
FOLDER 4 Typographic, Vol 14, No 4, October 1982, features proof sheet of Victor Hammer’s Samson laid in.
FOLDER 5 R. Hunter Middleton, “Victor Hammer, Artist and Master of the Printing Art,”The Printing Salesman’s Herald (1965).
(Two copies)
FOLDER 6 Writings of Victor Hammer, Specimen pages set by Liam Miller of Dublin, Ireland, with manuscript of writings.
FOLDER 7 Catalogue of Victor Hammer exhibition, Transylvania University, 1970, 27 pp. plus 25 plates, bound in white oriental paper wrappers and embossed with Hammer’s elevation drawing of the Chapel at Château Kolbsheim.
FOLDER 8 David Farrell, “Pursuit of the Ideal,” Fine Print, Vol.4, No. 4, October 1978.
FOLDER 9 Sophie Eisenhut. Lecture on Victor Hammer’s European career, Victor Hammer Conference, Wells College, Aurora, New York, October 1993. Xerox.
FOLDER 10 Roderick Cave, The Private Press, Xerox of section relating to Victor Hammer.
FOLDER 11 Alexander Lawson, ed., Anatomy of a Typeface (Boston, David Godine, 1990). Also Xerox of Chapter 2, “Hammer Uncial.”
FOLDER 12 Dialogue (1996), review of Victor Hammer exhibition at Transylvania University, spring 1996.
FOLDER 13 Xerox copy of Victor Hammer entry inThe Oxford Companion to the Decorative Arts >(1975).
FOLDER 14 Carolyn Reading Hammer’s bibliography ofThe Bur Pressand related data.
FOLDER 15 Carolyn Reading Hammer’s bibliography of The Press of Carolyn Reading
FOLDER 16 Carolyn Reading Hammer’s bibliography of The King Library Press
FOLDER 17 Carolyn Reading Hammer’s bibliography ofThe Stamperia del Santuccio
FOLDER 18 Carolyn Reading Hammer’s bibliography ofThe Anvil Press, with prospectuses and reviews.
FOLDER 19 Xerox of Carolyn Reading Hammer, “Notes on the Stamperia del Santuccio” from Chapters on Writing and Printing
FOLDER 20 Catalogue of Victor Hammer exhibition at Transylvania University, summer 1950, sewn into blue wrappers.
FOLDER 21 Two Xerox copies ofVictor Hammer chronology from Victor Hammer: Artist and Craftsman.
FOLDER 22 Announcement for “The Resurrection and Other Religious Works by Victor Hammer,” 19 March to 28 May 1989, reception and gallery talk Sunday 19 March, University of Kentucky Art Museum.
FOLDER 23 Xerox copy of E. A. Lowe’s English Uncial(Oxford University Press, 1960)
FOLDER 24 Program from lecture, Joseph C. Graves, Sr., “Victor Hammer: Calligrapher, Punch-Cutter, and Printer,” Bibliographical Society of the University of Virginia, Charlottesville, 1954
FOLDER 25 Exhibition catalogue,An Easter Anthology,Owensboro Museum of Fine Art, Owensboro, Kentucky.
FOLDER 26 Exhibition catalogue, Victor Hammer retrospective exhibition, North Carolina Museum of Art, 1965.
(Three copies)
BOX 47 FOLDER 1 Victor Hammer number of Oesterreichische Blatter.
(Three copies; with one copy of Gerhard Probst’s English translation)
FOLDER 2 Victor Lange, “Herbert Steiner und Victor Hammer,” Zeit der Moderne (1984), festschrift für Berhard Zeller. With translation, in part, by Helmut Gordon, laid in.
FOLDER 3 Catalogue, Victor Hammer exhibition, Transylvania College, 1948.
FOLDER 4 Carnegie Institute, International Exhibition, Pittsburgh, 1939.
FOLDER 5 Program from Gleeson Library Associates, University of San Francisco, 30 January 1983 meeting, with lecture by Dr. Steven Corey, “Victor Hammer: Artist and Printer.”
(2 copies of announcement, 11 copies of program)
FOLDER 6 Programs for Victor Hammer Exhibition at Lexington, Kentucky, Public Library, July 1948;
(Six copies)
FOLDER 7 Announcement of Victor Hammer centennial retrospective exhibition at Gleeson Library, University of San Francisco, 9 December 1982.
(2 copies)
FOLDER 8 Announcement for Victor Hammer exhibition at the Art Center Association’s School Gallery, Louisville, Kentucky, November 1959.
FOLDER 9 Program for Victor Hammer exhibition at the University of Kentucky Fine Arts Gallery and Margaret I. King Library Gallery, October 1952.
FOLDER 10 Bernhard Vitan, Die Wunsche (Gratz: Verlag Schmidt-Dengler, 1937). Notes mezzotints of Victor Hammer.
FOLDER 11 The Fine Line: Drawing With Silver in America (Palm Beach: Norton Gallery of Art, 1985).
BOX 48 FOLDER 1 Susanna Ragionieri, “Victor Hammer a Firenze,” Artista: Critica dell’arte in Toscana (1991). Attached is an envelope containing Ann Colcord’s translation of the article, as well as copies of a letter regarding Victor Hammer and the essay by Luke Richardson.
FOLDER 2 Requiem for Victor Hammer (New York: Spiral Press, 1967).
FOLDER 3 Christianity and the Visual Arts. From Kentucky Collections (Owensboro: Owensboro Museum of Fine Art, 1986).
FOLDER 4 Paul Holbrook, “The Craft of the Contrary Man,” Parabola, fall 1991 . With Xerox copy of a longer essay by Paul Holbrook, “Ad Maiorem Dei Gloriam.”
FOLDER 5 P. K. Thomajan, American Type Designers (1986). Contains article on Victor Hammer, p. 41 ff.
FOLDER 6 Paul Holbrook, “Tools in the Hands of God,”Cross Currents, Spring 1992.
FOLDER 7-8 David D. Cooper,“Victor Hammer and Thomas Merton: A Friendship Ad Maiorem Dei Gloriam,” The Kentucky Review,Vol. 7, No. 2, Summer 1987.
(4 copies)
BOX 49 FOLDER 1 John Dreyfus,“Printing as Industry and Craft: Victor Hammer’s Example,” The Kentucky Review, Vol. 5, No. 2, winter 1984.
(2 copies)
FOLDER 2 Harry Duncan, “My Master, Victor Hammer,”The Kentucky Review, Vol. 4, No. 2, winter 1983.
FOLDER 3 Theo Rehak, Ratdolt/Hammer Type Specimen Sheet, Dale Guild Type Foundry, 1996.
FOLDER 4 Catalogue from the Victor Hammer exhibition, Transylvania College, 1970, with price list laid in.
(2 copies)
FOLDER 5 Drafts of Paul Holbrook, “Ad Maiorem Dei Gloriam.”
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.
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