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Edward Gordon Craig 1872–1966Avant-garde Theatre Designer and ArtistMONNOW VALLEY

AcknowledgementsThis catalogue has been produced in conjunctionwith the exhibitions at the Monnow Valley ArtsCentre and The School of Art Gallery andMuseum, University of Aberystwyth during 2010and 2011.I am extremely grateful to all those who havehelped in the preparation of the exhibition. Inparticular I would like to thank Michael Meredithof Eton College for his help in cataloguing itemsand for supporting the loan of works from theCollege’s collection; Veronica Franklin-Gould forher enthusiastic support of the project and herinvaluable sources, and Dr Lindsay Newman forcorrecting my proofs and sharing her knowledge ofGordon Craig and his life.I am also grateful to the Provost and Fellows ofEton College for permission to borrow andreproduce works from their own collections and toNeil Jennings for other loans that have enhancedthe selection of works we are able to show.The exhibition travels to the School of ArtGallery and Museum at the University ofAberystwyth and I am grateful to Robert Meyrickfor agreeing to host the exhibition.Finally I would like to express my thanks toHelen Craig, who is the daughter of Edward Craigand grand-daughter of EGC, for providing theforeword to the catalogue.Rupert OttenSeptember 2010Contact details and information on opening hoursMonnow Valley Arts CentreTelephone: 01873 860529Email: info@monnowvalleyarts.orgwww.monnowvalleyarts.orgSchool of Art Gallery & Museum, University of AberystwythTelephone 01970 622460Email: museum@aber.ac.ukwww. aber.ac.ukCatalogue written by Rupert Otten, Foreword by Helen CraigDesigned by Helen Swansbourne, LondonPrinted by ABC Print (Hereford) Ltd in an edition of 500 copiesISBN 978-0-95595755-0Illustrations:Front cover: King Claudius and Queen Gertrude 1910, cat. 48Above: Frontispiece illustration to Gordon Craig’s Book of Penny Toys 1899, cat. 12Title page: Bookplate 1901, cat. 95Inside back cover: Julius Caesar 1922 (with Edward Craig), cat. no. 105Back cover: The Storm – King Lear 1920, cat. no. 62

Edward Gordon Craig 1872–1966Avant-garde Theatre Designer and ArtistStage Designs and Photographs, Drawings, Engravings, Woodcuts and EtchingsCatalogue by Rupert OttenForeword by Helen CraigE X H I B I T I O N DAT E SMonnow Valley Arts CentreMiddle Hunt House, Walterstone, Herefordshire HR2 0DY2 October – 14 November 2010School of Art Gallery & MuseumUniversity of Aberystwyth, Buarth Mawr, Aberystwyth, Ceredigion CY23 1NG29 November 2010 – 28 January 2011MONNOW VALLEY Arts CENtrEExhibition organised by Monnow Valley ArtsMiddle Hunt House, WalterstoneHerefordshire HR2 0DYTel: 01873 860529, E mail: info@monnowvalleyarts.orgwww.monnowvalleyarts.orgM M X

ContentsForeword 4Biography 5CataloguePhotographs of EGC 6EGC as Graphic Artist and Designer 8Stage Screens 12Precursors to Hamlet 14EGC and Hamlet 16Black Figures 18Other Engravings used in Hamlet 20Other Theatrical Activities 22Other Black Figures 24Other Engravings and Etchings 26Bookplates 28Miscellaneous 30FrontispieceSelf Portrait 1919Lithographic reproduction of woodcut, 14.7 × 8.5 cmTitle and signature in letter-press, signed and dated lower rightBased on woodcut black figure (Black Figures 87)Books 32

ForewordThe powerful presence of my grandfather Edward Gordon Craig wasalways around when my brother and I were children.I only met him twice or I should say he met me twice because Idon’t remember the first time as I was a baby. He called me “The WildWoman of Borneo” – I wonder what prompted that – I was not theeasiest of children.The second time we met was in 1956 when I visited him in Vencein the south of France for a few days. I was twenty-two years old. I didnot know what to make of this flamboyant and rather self-centred oldman. To make things more complicated his last daughter who was twoyears younger than me (and so my aunt!) decided to visit at the sametime. I was then beginning a photographic career and managed to takea few good pictures of him.So as a child I only knew EGC through the books and picturesaround the place. In some ways this presence was benign and far awayas by then he was living in France but in some ways it was threatening.How could I ever be an artist and match up to such a huge personality?I think this must be a problem for many offspring of clever people.I was always aware of his greatness but I also felt (throughoverheard conversations and observations of those around me) thatto get too near to him would be to get sucked into some sort ofservice to this great genius. If I wanted to retain my own identityand achieve something for myself I would have to turn my back,set my own course and find something quite different to do. It tookmany years.Now that I am on the last lap of my life with a certain smallfulfilment in my own field of children’s book illustration I find I amable to really appreciate and more importantly enjoy the work of thisamazing grandfather of mine.I am constantly astonished at the amount of work he did plus thevariety – watercolours, woodcuts, wood engravings, paintings andwonderful line drawings. Some of his line work is the most beautifulI have seen – and such a brave imagination – he never seemedfrightened to put down what was in his mind, however strange.I am always discovering work of his that I had never seen before.Even if I still don’t understand all his theories about the theatre I amenjoying his brilliant images now as I never could when a child.I am so happy that Rupert Otten has taken it upon himself to putthis extensive exhibition of Edward Gordon Craig’s work together andto bring it to an area other than the capital.Helen Craig, 20104

Biography1872 Born Stevenage, Hertfordshire, the son ofthe architect Edward Godwin and theactress Ellen Terry. Named as Edward HenryGordon.1879 First appearance on stage in Olivia, aged 6.1885 Accompanied his mother and the LyceumCompany to America.1886 Sent away to school at Southfield Park andlater Bradfield College.1889 Became an actor under Sir Henry Irving.1893 Married May Gibson and changed his nameby deed poll to Edward Gordon Craig.Known as Teddy or EGC.1893 First stage designs and productions.First attempts at wood engraving under theinfluence of William Nicholson and JamesPryde.1897 Starts affair with Elena Meo with whom hehas two children, Nelly and Edward.1898 Attempted to earn a living from makingwoodcuts and design work. Published ThePage until 1902.1899 Abandoned his career as an actor.Worked on various stage productions up to1914.1905 Published The Art of the Theatre.1906Had daughter with Isadora Duncan.Settles in Florence.1908 Acquired lease on Arena Goldoni. Editedand published The Mask until 1929.1910 Craig patented his moveable stage screens.1911 Designed and produced Hamlet for MoscowArt Theatre using his new screens1929 Last stage production. Publication ofCranach Press Hamlet.1930 Publication of his book on Henry Irving.1932 Publication of Ellen Terry and Her SecretSelf.1957 Publication of Index to the Story of My Days1872–1909.1966 Died at Vence, France.1 (part)5

Photographs of CraigThe provenance of all photographs is TomCraig, grandson of Edward Craig (also knownas Edward Carrick), film designer, author andengraver.1. EGC in The Dead Heart, Lyceum Theatre18896.6 × 3.9 cm, unknown photographerwithEGC outside Barkston Gardens 189219 × 15 cm, photograph taken by Edy Craig(modern print)Illustrated on page 542. EGC c. 191032 × 25 cm top left corner missing laid down onboard, unknown studio photographerInscribed property of Edward Carrick onreverse4623. Photograph of EGC in England 1911/1220.8 × 11.3 cm, unknown photographer4. EGC on arrival at Moscow Station 27March 193514 × 20.7 cm, unknown photographerFrom left to right: Amaglobeli, Tairoff, EGC,Chernyavski, MeyerholdwithEGC at the Mali Theatre, Moscow 193514.4 × 22.8 cm, unknown photographer. EGCcentre, others unidentified.

85. EGC at St. Germain-en-Laye with Dora194123.5 × 17 cm, unknown photographer6. EGC with the Duke and Duchess ofLeinster and party near Grasse c. 19495.8 × 5.2 cm, photograph by Edward Carrick57. EGC with David Lees at Tourettes-sur-Loup c. 195613.7 × 9.2 cm, unknown photographerDavid Lees was EGC’s sonwithEGC with his White Cat 195815.6 × 10.8 cm, photograph by Joe Hollander8. EGC in a deckchair c. 195623.3 × 29.3 cm, photograph by David Lees9. EGC Writing c. 195629.6 × 23.7 cm, photograph by David LeesInscribed Picture Post on reverse.97

EGC as Graphic artist and DesignerEGC married May Gibson in 1893 and settled inUxbridge a short distance from where WilliamNicholson and James Pryde were living. Thesetwo artists were known as the Beggarstaff andproduced innovative modern designs inwoodcuts and engravings. EGC learnt fromthem and by trial and error became a successfuldesigner and engraver. EGC also wrote andillustrated books including Penny Toys in 1899.There is some confusion as to whether theseearly prints were cut on the end or long grain ofwoodblocks. Tom Craig, EGC’s grandson,believes that EGC practised wood engraving andthat only the black figures, which evolved out ofminiature stage sets, were technically woodcuts.Haldane Macfall in the Print Collector Quarterlyvolume 9, no. 4, published in 1922, describesEGC’s work as woodcuts and EGC in his ownpublication Woodcuts and Some Words,J.M. Dent & Sons, 1924, continues to describethese works as woodcuts. We have used thisterminology in this catalogue.1010. Cover Design for The Dome 1897Woodcut partially coloured, 12.7 × 9.6 cm11. Miss Ellen Terry as Ophelia 1898Proof woodcut, 24.5 × 15.5 cmAn additional impression with title and EGCinitials in letter-press as published in The Page,Vol. I, is also available12. Frontispiece illustration to Gordon Craig’sBook of Penny Toys 1899Proof woodcut with highlights in handcolouring, 10 × 7 cmIllustrated on inside front cover811

13. Proof Illustration to Gordon Craig’s Book ofPenny Toys 1899Proof hand coloured woodcut, 12 × 15 cmEGC’s first book was published in 189914. Miss Ellen Terry c. 1898Woodcut, 10 × 8.8 cm15. Sir Henry Irvine as Macaire c. 1900Hand coloured woodcut, 17.8 × 11.4 cmLetter-press title. Issued as a supplement toThe Page, Vol. III1316. Battersea Park c. 1900Woodcut, 9.8 × 13.2 cmLetter-press title and signature as issued inThe Page, Vol. IV17. I had no Thoughts of a Blue Gauze Veilc. 1900Woodcut, 10.2 × 10.2 cmLetter-press title and inscribed “Designed andEngraved by Oliver Bath” (nom de plume ofEGC) as issued in The Page, Vol. III161714159

181918. Peer Gynt’s Nephew c. 1900Woodcut, 7.8 × 9.8 cmLetter-press title and inscribed Anunfinished woodcut by Oliver Bath(nom de plume of EGC) as issued inThe Page, Vol. IV19. Kensington Gardens 1901Woodcut, 12.5 × 14.9 cmSigned and numbered 3/18An additional impression as issued forThe Page Vol. IV with letter-press title andsignature20. Tom Foolery c. 1900Woodcut, 8.1 × 6.7 cmLetter-press title and inscribed Designed bythe late Oliver Bath (nom de plume ofEGC) as issued in The Page, Vol. IV21 The Sorceress (for Dido and Aeneas)1900Woodcut, 17.6 × 9.2 cmLetter-press title and signature as issued inThe Page, Vol. III22. Irving as Badger in The Streets ofLondon c. 1900Woodcut, 10.8 × 8.3 cmLetter-press title and signature as issued inThe Page, Vol. III1022 21

202523. The Understudy c. 1900Woodcut, 7.8 × 7.8 cmLetter-press title and signature as issued inThe Page2424. Parochial Marmalade (design for a label)1900Proof woodcut, 9.5 × 11.2 cmIllustrated Woodcuts and Some Words 1924,No. 1725. Costume Design for Bethlehem 1903Proof woodcut, 16.7 × 12.9 cmIllustrated ‘Concerning the Woodcuts ofGordon Craig’, Print Collector Quarterly 1922,page 406 and Woodcuts and Some Words 1924,No. 2126. Combat by Pyramid c. 1906Woodcut, 5.8 × 5.8 cmSigned, dated and numbered 38/120262311

Stage ScreensEGC first went on the stage as a 6-year-old in1878. A few years later he toured America withhis mother, Ellen Terry. In 1889 he wasapprenticed to Sir Henry Irving and became afine actor under his guidance. However, despitehis success as an actor he became dissatisfiedwith the ways in which plays were performed.In 1899 he was offered the chance to plan aproduction of Dido & Aeneas for the PurcellOperatic Society. With the design skills he hadtaught himself through his woodcuts, heproduced imaginative designs for theproduction. Footlights would be discarded infavour of light from the side and above. Scenerywas kept to a minimum.The Purcell Operatic Society flourished andCraig’s reputation was secured as adesigner/director. With the help of his mother,new opportunities afforded themselves withproductions of Bethlehem by LaurenceHousman in 1902, The Vikings in 1904 andMuch Ado About Nothing. EGC worked on ideasfor productions of King Lear and Hamlet.The experience of directing plays led EGCto articulate his theories about a new theatre.Whilst in Germany in 1905 he wrote a smallbook, The Art of the Theatre, in which heexplained his theory that a theatricalproduction should aim to show the innerbeauty and meaning of life. For EGC this alsomeant that scenery should be simple anddramatic.In 1910 he patented his ideas forImprovements in Stage Scenery in whichscenery would be provided by ways of hingedscreens which could be moved around the stageeasily and would help create dramatic lightingeffects. It would be cheap to make and easy toinstall.His ideas were adopted immediately by theAbbey Theatre in Dublin and most importantlyby the Moscow Art Theatre where EGC wasinvited to produce Hamlet in 1911. The playusing his ingenious staging ran for 3 seasonsuntil 1914.27. Dame Ellen Terry posing in front of StageScreens 1910Photograph, 10.7 × 15.3 cm, a reprint fromoriginal negative by Edward CarrickwithPhotograph of Act 1, Scene 2 for Hamlet c. 191114.7 × 18.8 cm, photo by The Central News Ltd.withPhotograph of Act V, Scene 1 for Hamlet 191110.8 × 15.5 cm, a reprint by Edward Carrickfrom the original negative of the model with agroup of black figureswithPhotograph of Act IV scene 6 for Hamletc. 191110.8 × 15.4 cm, a reprint by Edward Carrickfrom the original negative of a figurerepresenting a sailor on stairsNote: the figure on the stairs is based on amodel of Rosencrantz who according toChristopher Innes is doubling up for the sailorwho makes only one appearance in Hamlet.27 (part)12

28. Photograph of Act IV, Scene 5, Hamletc. 191026.4 × 30 cm, photograph by Edward Carrickfrom the model EGC made in 1909 with theblack figure Ophelia with Flowers.29. Photograph of an experimental stage setprobably taken at Smallhythe 1910 or 191120.8 × 14.7 cm, contemporaneous photographfrom the scale model with two black figures, oneprobaly Jew.292813

Precursors to HamletEGC left Britain in 1904 for Germany and fromthere travelled to Florence where he arrived in1905. He established his base from 1908 at theArena Goldoni. From Florence he promulgatedhis ideas for modern theatre through hismagazine The Mask, through his Marionettes,writing, engravings and etchings.30. Weep you no More, Sad Fountains 1906Watercolour and pen and inkSigned, annotated and datedA gift to the musician Martin Shaw, a greatfriend and artistic collaborator of Craig’s.31. Design for a Scene 1907Etching, 20.6 × 16.5 cmSigned and dedicated and dated 191032. Design for a Scene c. 1907Etching on repaired PWP & AOL handmadepaper, 8.2 × 6 cmFaint initials below plate on right resembling asignature33. Light 1907Etching, 20.2 × 12.7 cmSigned and dated331431 32

353434. Descending into the Tomb 1907Etching, 20.6 × 16.7 cmSigned and dated from A Portfolio of EtchingsOnly 12 sets completed35. In Italy – A Design for a Scene 1907Wood engraving, 10.5 × 8.8 cmSigned lower right with initialsAlso proof impression available36. Scene 1908Proof woodcut, 12.2 × 8.2 cm3615

EGC and HamletThe earliest known drawings for a Hamletproduction date to around 1903, but it was notuntil 1909 – when Konstantin Stanislavski askedhim to direct a production of Hamlet at theMoscow Art Theatre – that Craig became fullyengaged on the theme. Having designed themoveable screens and patented them in 1910,he started to plan the action using these scalemodels of the screens and wooden figures asminiature representations of actors which heplaced against the screens.It took nearly three years and several tripsto Moscow to get the production ready. Itopened in January 1912. Many technicalinnovations including the use of the foldingscreen and overhead and side lighting made theproduction a milestone in theatricaldevelopment. The production was a majorsuccess and continued for three seasons inMoscow and St. Petersburg, closing in 1914.EGC already knew Count Harry Kessler(1868–1937), diplomat and founder of theCranach Press, and had collaborated with himin Germany in 1904/5. Kessler having seenCraig’s model theatre and stage designs with thewooden figures, suggested that prints madefrom the wooden figures could be used to makean illustrated version of Hamlet.A new typeface was commissioned andEGC was to make black figure engravings basedon his original wooden figures and supplementthese with additional wood engravings. Thefirst world war intervened and it was not until1929 that the book was published, first inGerman and then re-set with a new suite ofillustrations in English. It was superblyproduced on handmade paper and handprinted. It contains 74 woodcuts or engravingsin the German edition and 80 in the Englishedition by EGC and one wood engraving as titlepage by Eric Gill. It was printed in editions of255 and 325 copies respectively and includedsome specials with extra suites of prints. Itremains one of the most sought after books ofthe Cranach Press.1638

3737. Design for Hamlet 1910Black crayon, 13.3 × 20.5 cmOne of the earliest known set designs forHamletKindly lent and reproduced by permission ofthe Provost and Fellows of Eton College,Berkshire38. Act one, Scene one, Hamlet c. 1910Pencil, 9.5 × 14.4 cmKindly lent and reproduced by permission ofthe Provost and Fellows of Eton College,Berkshire39. Photographs of Act I, Scene I c. 191017 × 22.8 cm, 13 × 17.5 cm and 12.3 × 16 cmKindly lent by the Provost and Fellows of EtonCollege, Berkshire17

Black FiguresEach figure was carved on the long grain of ablock of soft wood with the outline and detailsengraved upon the surface. These blocks werelater used to make editions of prints and foruse, together with some new wood engravings,in the German and English editions of theCranach Press version of Hamlet.The Black Figures of EGC were listed by Dr.Lindsay Newman and the numbering and noteson where the blocks have been used follows thetreatment given in Black Figures, presented withintroduction & documentation by L.M. Newman,Christopher Skelton 1989 and from otherunpublished lists.40. Ghost with Crown 1912Woodcut, 15.7 × 5.4 cmSigned, edition of 4 or 5Kindly lent by the Provost and Fellows of EtonCollege, Berkshire41. Ophelia Sane 1927Woodcut (Black Figures 3 recut version),14 × 6.5 cmSigned, edition of 1342. Ophelia Mad 1912Woodcut (Black Figures 4, 6th state) on yellowpaper, 15 × 8.6 cmTitled and inscribed Proof Impression ! TheShadows at the right bottom corner cut out !Used on the 8 deluxe copies of Hamlet1841 4245

43. Hamlet and Daemon (large) 1909Woodcut (Black Figures 8, 2nd state),24.2 × 11.7 cmSigned and dated, edition of 40. Used in TheMarionette I 191844. Actor (three quarter length) 1912Woodcut (Black Figures 16, Block 1) on yellowpaper, 15.8 × 6.3 cmEdition of about 8 impressions on yellow, total27 copiesUsed on page 72 of the German edition ofHamlet48. King Claudius and Queen Gertrude 1910Wood cut, 24.8 × 15.1 cm (Black Figures U-10)Printed by Helen and Edward Craig c. 1987 inan edition of about 10 onlyIllustrated on front cover49. King Claudius 1910Woodcut (Black Figures U-11), 23.5 × 6.7 cmPrinted by Helen and Edward Craig c. 1987 inan edition of about 10 only45. Actor (three quarter length) 1930Woodcut (Black Figures 16, Block 2) on vellum,10.8 × 4.8 cmSigned in pencil, edition of 6. Recut in smallersize for the English edition of Hamlet, page 644346. Yorick 1913Woodcut on vellum (Black Figures 19),15.4 × 7.9 cm, edition 25 copiesSigned with initials, printed by EGC and givento Count Harry KesslerUsed on page 155 of German version and page151 of English edition of Hamlet47 Hamlet Profile 1913Wood cut on Japanese vellum (Black Figures 31,2nd state), 6.3 cm diameter, edition of 23Used on cover of some copies of the fullmorocco Hamlet47 464919

Other Engravings used in Hamlet50. Screen Fragment for Hamlet 1913Woodcut on japon, 7.7 × 2.2 cm, editionunknownUsed on page 164 of the English edition ofHamlet51. Ghost Bursting Cerements 1925Wood engraving, 12.3 × 16 cmSigned and datedKindly lent by the Provost and Fellows of EtonCollege, Berkshire52. Hamlet on Cushions 1927Wood engraving (Black Figures 37A) on yellowjapan, 8.2 × 10.2 cmAn unsigned proof apart from the edition of 15522053

5053. Ophelia with Window 1928Wood engraving in blue ink (Black Figures37VV), 9 × 18 cmSigned. Used on page 129 of the Englishedition,54. Lights, Lights, Lights c. 1928Wood engraving (Black Figures 37MM),7.8 × 18.2 cmSigned55. King Sleeping c. 1928Wood engraving (Black Figures 37KK),7.8 × 18.2 cmSigned56. S: Initial with Gravediggers 1930Presentation proof wood engraving (BlackFigures 82C), 7.9 × 7.5 cmSigned. Used on page 146 of English edition ofHamlet54555621

Other Theatrical ActivitiesAlthough EGC is best known for his designs forHamlet, throughout the early years of the 20thcentury he worked on productions in England,Germany and Italy. In his seminal book The Artof the Theatre, published in 1905, he wasconsidering the role of the actor and exploringthe impact that marionettes might have on thevisual experience of the audience.Once established in Florence, EGC mademarionettes and published a regular magazineas part of The Mask on the role and use ofmarionettes. EGC made a set of designs for KingLear in 1908 which were not used. He wantedcomplete control over his productions and thisoften caused difficulties with producers and ledto many aborted projects.57. The Marionette 1918Pen and ink drawing, 11 × 7 cmTogether with a subscription form for TheMarionette A Monthly Performance withhand-written draft letter in pencil to Martin(Shaw) with a printed Motion for Romeo andJuliet58. Illustration for The Three Men of Gotham1919Probably made in collaboration with EdwardCraigOriginal ink drawing, 3 × 15.2 cm and a handcolouredplate issued with the MarionetteMotion59. Advertisements for The Mask c. 1920For the US market, subscription $2.50 or$5 per annumFor the UK market, 2/6 a copy or10/- per annum60. Venice Preserved 1913Plan of the model for Venice Preserved in ink,10.2 × 12.5 cmPhotograph of an enlargement of an EGCdesign for basis of model, 10 × 7.4 cmColour photograph of watercolour of stagedesign, 15 × 10.5 cm2257 58

61. For King Lear 1908Wood engraving, 10.4 × 10.7 cmSigned and datedLiterature: Woodcuts and Some Words, no. 4462. The Storm – King Lear 1920Wood engraving, 16.8 × 15.8 cmSigned and dated 1924 above signature and1920 below printLiterature: Woodcuts and Some Words, no. 57Illustrated on back cover63 Photograph of the Great Model for Bach’sSt. Matthew Passion 1913–1451 × 40.5 cm, with pencil and ink annotationson front and reverse by EGCProvenance: Edward Carrick64. La Procession Nocturne (Liszt) 1927Wood engraving, 10.9 × 17.9 cmSigned and numbered 38/100Provenance: Sir Nigel Hawthorne636423

Other Black FiguresEGC made black figures for many otherpossible productions including Don Juan, TheMerchant of Venice, Rosencrantz andGuildenstern and St. Matthew Passion.65. Dancing Girl 1908Woodcut (Black Figures 66), 26.9 × 6.6 cmPrinted by Helen and Edward Craig c. 1987 inan edition of about 10 only66. Lorenzo (without stick) 1909Woodcut (Black Figures 43, 1st state),15.6 × 7.2 cmSigned and dated 1910, edition of 1067. Orator (Acrobat) 1908Woodcut (Black Figures U-7), 25.8 × 10 cmPrinted by Helen and Edward Craig c. 1987 inan edition of about 10 only65 6668. Eve 1915Woodcut (Black Figures 85, 3rd state),15.3 × 8.4 cmUnsigned but annotated. Only 35 Copies, thisone extra B69. Priest 1907/9Woodcut (Black Figures 80), 26.9 × 10 cmPrinted by Helen and Edward Craig c. 1987 inan edition of about 10 only70. Helena 1908Woodcut (Black Figures U-3), 25.8 × 9.5 cmPrinted by Helen and Edward Craig c. 1987 inan edition of about 10 only71. Worshipper 1907Woodcut (Black Figures 81), 26 × 6.8 cmPrinted by Helen and Edward Craig c. 1987 inan edition of about 10 only72. Moses 1909Lithographic reproduction of original woodcut(Black Figures 64), 26.6 × 9.6 cmInscribed by Emery Walker 1930, “very rare notfor sale”2467 68

73. Pleader (Penitent) 1908Woodcut (Black Figures U-5), 25.7 × 8 cmPrinted by Helen and Edward Craig c. 1987 inan edition of about 10 only74. Roman Actor 1907–8Woodcut (Black Figures 77), 25.8 × 12.4 cmPrinted by Helen and Edward Craig c. 1987 inan edition of about 10 only75. Mourner 1908Woodcut (Black Figures U-8), 25.5 × 7.8 cmPrinted by Helen and Edward Craig c. 1987 inan edition of about 10 only6970 7172 73 74 7525

Other engravings and etchingsEGC originally learnt to cut woodcuts used asillustrations to books and as bookplates. After1900 he also learnt to cut wood engravings andfrom 1907, etchings. Two portfolios of etchingswere made by EGC in Florence and printed byLuigi Tassini. All are now very scarce items.76. Winchelsea 1900Proof wood engraving, 4 × 7.7 cmLiterature: Woodcuts and Some Words, no. 137677. Torre dei Diavoli 1908Proof wood engraving, 6.5 cm diameterFirst published in The Mask, Vol. ILiterature: Woodcuts and Some Words, no. 3478. View of Arcetri 1908Wood engraving, 6 × 14 cmSignedFirst published in The Mask, Vol. ILiterature: Woodcuts and Some Words, no. 4679. View over Florence 1908Wood engraving, 5.2 × 14.3 cmSignedFirst published in The Mask, Vol. IILiterature: Woodcuts and Some Words, no. 497780. La Commedia 1911Woodcut, 3.5 × 12.5 cmLiterature: Woodcuts and Some Words, no. 5681. The Globe Theatre c. 1908Proof wood engraving, 4.2 × 4 cm82. Briars near Florence c. 1908Wood engraving, 17 × 7 cmSigned with initialsAn unsigned impression in red/brown ink isalso available83. Street Scene St. Germain-en-Laye 1938Proof wood engraving in brown ink, 7 × 7.5 cmInscribed Final State. One of 3 copies, copy 22678

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BookplatesEGC made some 200 bookplates over his lifewith the first in 1895. These were made to earnmuch needed money to keep his young familyfed. However they are an important contributionto modern design. EGC compiled hisbookplates in the publication BookplatesDesigned and Cut in Wood 1900 and in Nothingor the Bookplate 1924.References are to The Bookplates of EdwardGordon Craig by John Blatchly, The BookplateSociety 1997. Here the works are described aswoodcuts but today are better described aswood engravings as they were made on theshort grain of boxwood blocks.84. Arena Goldoni 1915, (Blatchly 2), plan ofGoldoni Theatre, 9.4 × 8.1 cm85. Nina, Lady Corbet 1900 (Blatchly 18), pinkwith name, 5.6 × 2 cm86. The Hon. Mrs LA Tollemarche 1900(Blatchly 160iii), poodle, 6.7 × 5.7 cm87. Marion Terry 1899 (Blatchly 159), wreathwith initials, 9.2 × 6.1 cm88. Cora Brown Potter 1901 (Blatchly 125),Ex Libris and initials, 6.6 × 4.3 cm8485862887 88

89. Charles William Dalmon 1900 (Blatchly48), herb sprig with initials, 6.2 × 4.5 cm90. William Downing 1900 (Blatchly 62), shipat sea with name, 7.2 × 6 cm91. Jess Dorynne 1901 (Blatchly 58), woman inelaborate hat and cape, 4.6 × 3.9 cm92. No Owner 1901 (Blatchly 179), side view ofmask, 3.2 × 2.5 cm93. Horah F Dryhurst (Blatchly 64), town onhill, 4.6 × 3.5 cm94. Beatrice Irwin 1901 (Blatchly 86i), snakewith halo in a box, first state, 5.1 × 5 cm95. Edward Gordon Craig 1901 (Blatchly 36),tree with initials and date, 4 × 2.6 cm(illustrated on title page)96. Alice, Lady Ridley 1901 (Blatchly 132),rose bush with initials, 7.9 × 3.9 cm97. Rowland James Corbet 1900 (Blatchly19ii), chick with name, 4.7 × 3 cm98. Daphne Woodward 1929(Blatchly 169), dividedbranch of foliage with initials,3.2 cm diameter99. No Owner 1899 (Blatchly 177),female figure in crinoline,4.5 × 2 cm90899192939429

Miscellaneous100. Drawing of d’Artagnan c. 1901Ink, 19 × 19 cmEGC admired d’Artagnan and thought ofhimself as like this fictional character101. Hillside 1901Monotype print, 9 × 14.5 cmA unique work from the Edward Craig archive102. Message sent 27 April 1941 from OccupiedFranceMessage sent under the auspices of theInternational Red Cross from EGC at 11 bis ruede Noailles, St Germain-en-Laye, to Nellie Craigin London with news of his internment andsubsequent release by the Germans. Red Crossstamp, censor stamps of British and NaziauthoritieswithMessage sent 11 June 1943 from occupiedFranceMessage sent under the auspices of theInternational Red Cross from EGC at 85 rueAmpère, Paris to his wife Elena Craig inHampstead, London, with general news of hiswell being. Red Cross stamp, censor stamps ofBritish and Nazi authorities.10110230100

103104106103. Pensione Famille c. 1952Watercolour mounted on panel, 7 × 10.6 cmIn 1952 EGC moved to Tourettes-sur-Loopoutside Vence in the south of France104. Paysage c. 1965Watercolour, 8.2 × 11.9 cmInscribed by Edward Craig as EGC’s last(watercolour)105. Julius Caesar 1922 (with Edward Craig)Watercolour on reverse of Stedelijk MuseumDinner menu 6 February 1922, 10.6 × 15.9(Illustrated on inside back cover)withCesare Borgia c. 1925 (with Edward Craig)Watercolour, 10 × 15.3 cm106. Musician 1931Ink and watercolour, 14 × 14 cm107. Odysseus arrives at Crete c. 1935 (possiblywith Edward Craig)Watercolour and ink, 17 × 11 cmInscribed in inkand the essence of the abstract unravelling ahandy prudenceplays upon the foretold unity;while equity befooledby routine pausesin doubt behinda two-fold hateInscribed verso The cry of the experimenter10731

Books108. Scene 1923Written by EGC with a foreword by JohnMasefield, Oxford University Press, 30 × 24 cmHardback, number 60 of 100 signed by EGC outof a total edition of 1000109. Woodcuts and Some Words 1924By Edward Gordon Craig with an introductionby Campbell Dodgson, hardback. Published byJ.M. Dent & Sons. Book plate of Edward Craig110. Books and Theatre 1925By Edward Gordon Craig published by J.M.Dent & Sons hardback with dust coverBookplate of Edward Craig with Edward Craigpencil annotations throughout111. Index to the Story of my Days, somememoirs of Edward Gordon Craig, 1957By Edward Gordon Craig, published by HultonPress, London112. Gordon Craig: The Story of his Life 1968By Edward Craig, published by Alfred A. Knopf,New York113. Towards a New Theatre: Edward GordonCraig and Hamlet 1975By Brian Arnott in English and French,published by the National Gallery of Canada.114. Gordon Craig Archives 1976An international survey by L.M. Newmanpublished by The Malkin Press, London, in anedition of 500 copies115. Gordon Craig’s Moscow Hamlet: AReconstruction 1982By Laurence Senelick, hardback published byGreenwood Press116. The Black Figures of Edward Gordon Craig1989Presented with introduction anddocumentation by L.M. Newman, published byChristopher Skelton, hardback in an edition of500 copies117. The Bookplates of Edward Gordon Craig1997By John Blatchly, published by The BookplateSociety and Apsley House Press in an edition of400118. The White Fan, Gordon Craig’s NeglectedMasterpiece of Symbolist Staging 2009By L.M. Newman, published by The MalkinPress, London, marbled soft cover in an editionof 225 copies32