= One of 7 copies PRINTED ENTIRELY ON VELLUM, with 3 extra suites (51 plates each) of the woodcuts, resp. printed on laid yellow paper (some occas. foxing), on imperial Japanese paper (one plate some vague folds/ creases) and on VELLUM, except for a few prints all monogrammed or signed in pencil by the artist. The main volume bound in full burgundy morocco by W.H. SMITH & SON, both covers w. gilt fillet line around borders, mor. doublure margin within gilt fillet line, giltlettered ribbed spine w. gilt-lined compartments, gilt boardedges, a.e.g.; the extra suites loosely inserted in unif. full burgundy morocco portfolio w. ties, both covers w. gilt fillet line around border, smooth giltlettered ("Hamlet Plates") spine.
A splendid copy.
Fletcher/ Rood C25(a); The Artist & The Book 1860-1960 66: "(...) this is one of the most ambitious and successful books of the Cranach Press, with a fine harmony between the type page and the illustration. (...) Craig worked over a period of seventeen years on the woodcuts, developing them from designs originated for his production of Hamlet at the Moscow Art Theatre in 1912". The website of the British Library on this work: "This 1930 edition of Hamlet, illustrated by Edward Gordon Craig, is often regarded as the most bold and ambitious example of 20th-century book art. Elegantly put together, with obsessive attention to detail, it uses hand-made paper and decorated binding, fine images and beautiful typefaces to enhance the dramatic effect of Shakespeares play. At the centre of each page is the text of Hamlet, from the second quarto edition (1604-05), interspersed with 80 striking woodcuts designed and carved by Edward Gordon Craig. (...). The meticulous design process was overseen by Count Harry Kessler (1868-1937), director of the famous Cranach-Presse in interwar Weimar Germany. As well as Gordon Craigs woodcuts, Kessler used a typeface designed by Edward Johnston and a title page cut by Eric Gill." SEE ILLUSTRATIONS PLATE X.