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    • Home
    • Folios and Quartos
    • 18th Century Editions
    • 19th Century Editions
    • 20th Century Editions
    • The Fifth Folio (1700)
    • Companion Marlowe site!
    • New Variorum I 1871-1955
    • First Arden 1899-1924
    • Red-Letter Shakespeare
    • Women Edit Shakespeare
    • Restoration Adaptations
    • Conjectures and Notes
    • Biography
    • Collier Forgeries
    • Historical Criticism
    • Lexicons and More
    • Furnivall Facsimiles
    • Malone Society Reprints
    • Tudor Facsimile Texts
    • Bibliographia
    • Shakespeare Media Archive
    • Lost Plays Database
shakedsetc.org
  • Home
  • Folios and Quartos
  • 18th Century Editions
  • 19th Century Editions
  • 20th Century Editions
  • The Fifth Folio (1700)
  • Companion Marlowe site!
  • New Variorum I 1871-1955
  • First Arden 1899-1924
  • Red-Letter Shakespeare
  • Women Edit Shakespeare
  • Restoration Adaptations
  • Conjectures and Notes
  • Biography
  • Collier Forgeries
  • Historical Criticism
  • Lexicons and More
  • Furnivall Facsimiles
  • Malone Society Reprints
  • Tudor Facsimile Texts
  • Bibliographia
  • Shakespeare Media Archive
  • Lost Plays Database

Red-Letter Shakespeare

The most beautiful ever?

The most beautiful ever?

The Glasgow firm Blackie and Son enabled a dream collaboration of E. K. Chambers as editor and Talwin Morris as graphic desinger to create the Red-Letter series (1904-09). 

Hathi-trust Library webpage with links to the first 25 volumes.  There  are 39 in all. 

Red wrappers

The most beautiful ever?

The small volumes (16 x 9.5 cm) were bound in ivory cloth with black and red lettering and design inside and out. The tissue-paper covers were either tan or red. To find a full set in pristine condition, wrappers intact, is rare.  Library catalogues often assign volume numbers, but these appear to be spurious. 

Talwin Morris

Morris (1865-1911) was an adherent of the Glasgow School of Art Nouveau. He designed book series covers for Blackie and Son. He portrays himself in one of his own capitals (T). Blackie chose him to be the designer of the set.


Wiki page on Morris

Graphics

Art Nouveau Design, Glasgow School

The somewhat otherworldly natural designs incorporating buds, blossoms, and vines reflected the Art Nouveau movement.  And the life-forces inherent in the graphics complement those at work in Shakespeare's living text. 


Details

Title-pages

Art Nouveau Design, Glasgow School

Art Nouveau Design, Glasgow School

Morris puckishly signed his work in morse code with three dots and pauses that spelled his initials.


Pinterest page devoted to his book designs

Art Nouveau Design, Glasgow School

Art Nouveau Design, Glasgow School

Art Nouveau Design, Glasgow School

Morris bore no relation to William, the colleague of Dante Gabriel Rossetti, but the latter was certainly an influence.


University of Reading's Morris exhibit

Edmund Kerchever Chambers (1866-1954)

Sir Edmund K. Chambers needs no introduction to those who study Shakespeare and other Elizabethan drama. He was a founding member of the Malone Society and wrote the longtime standards The Mediaeval Stage (1903), The Elizabethan Stage (1923), and William Shakespeare: A Study of Facts and Problems (1930).

A-E

Antony and Cleopatra


All's Well That Ends Well


As You Like It


Coriolanus


Cymbeline


The Comedy of Errors

H

Hamlet


1 Henry IV


2 Henry IV


Henry V


1 Henry VI


2 Henry VI


3 Henry VI


Henry VIII

J-M

Julius Caesar


King John


King Lear


Love's Labours Lost


Macbeth


Measure for Measure


The Merchant of Venice


The Merry Wives of Windsor


A Midsummer Night's Dream


Much Ado about Nothing

O-R

Othello


Pericles


Poems v. 1


Poems v. 2  (i.e., Sonnets and A Lover's Complaint)


Richard II


Richard III


Romeo and Juliet

T-W

The Taming of the Shrew


The Two Gentlemen of Verona


Timon of Athens


Titus Andronicus


The Tempest


Troilus and Cressida


Twelfth Night


The Winter's Tale

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