126 - Officina Serpentis—The Johannine Writings. The Gospel. The Epistles. The Revelation. Translated into German by D. Martinus Luther. Berlin, 1919. With 50 colored and gold-embossed decorative initials, mostly six lines high, and nine pages with colored and gold-embossed scrollwork borders. Parchment binding with a colored and gold-toiled ink drawing on each cover as vignettes; the spine title and inner edge borders are also in colored ink and gold.

Officina Serpentis—The Johannine Writings. The Gospel. The Epistles. The Revelation. Translated into German by D. Martinus Luther. Berlin, 1919. With 50 colored and gold-embossed decorative initials, mostly six lines high, and nine pages with colored and gold-embossed scrollwork borders. Parchment binding with a colored and gold-toiled ink drawing on each cover as vignettes; the spine title and inner edge borders are also in colored ink and gold. Call time: approx. 1:12 p.m. (schedule subject to change) One of six special edition copies on parchment; an additional 50 were printed on Zanders handmade paper. - Set in the Gotico-Antiqua typeface, specially cut for Tieffenbach at the Bauer foundry, which was modeled after the Schöffer Bible typeface by Creußner and Koberger from the 15th century. - The title, subtitle, and initials were woodcut by Bruno Rollitz. - Hand-set and hand-pressed by E. W. and E. H. Tieffenbach. - The book decoration of the parchment copies differs entirely from that of the handmade paper editions: The initials, which were imprinted in red in the latter, were here painted entirely by hand, decorated with foliage alongside the text block, colored, and gilded. The three opening pages of the book’s three sections (Gospel, Epistles, Revelation) are particularly lavishly decorated, with the section headings calligraphied in gold. - “The Johannine Writings” [...], one of the most beautiful prints from the Officina Serpentis, shines with the colorful splendor of its watercolor decorative border so deceptively ‘authentic’ that it seems as though Schoppmeyer had set up his drawing table right in the middle of Master Creussner’s workshop around 1480.” (Jürgen Eyssen). - The unique binding features red silk endpapers, two-tone hand-stitched headbands, and five parchment lacing bands; the large cover vignette is monogrammed “H.S.” Backe/Köppen 30. - Rodenberg 111. - Eyssen p. 89 34.5 × 24.5 cm. 61, [3] pages. - Silk endpapers slightly worn at the inner joints. English description: Contains 50 decorative initials, colored and highlighted with gold, mostly six lines high, and nine pages with scrollwork borders, colored and highlighted with gold. Parchment binding featuring an ink drawing, colored and highlighted with gold, as a cover vignette, with the spine title and inner edge borders also in colored ink and gold. One of six special copies on parchment; another 50 were printed on Zanders hand-made paper. - Set in the Gotico-Antiqua typeface, cut specifically for Tieffenbach at the Bauer foundry, which was modeled after the 15th-century Schöffer Bible typeface by Creußner and Koberger. - The title, subtitle, and initials were woodcut by Bruno Rollitz. - Hand-set and hand-pressed by E. W. and E. H. Tieffenbach. - The decorative elements of the parchment copies differ entirely from those of the handmade paper prints: The initials printed in red in the latter were painted entirely by hand here, decorated with scrollwork alongside the text block, colored, and gilded. The three opening pages of the book’s three sections (Gospel, Epistles, Revelation) are particularly lavishly decorated, with the section headings calligraphed in gold. - “The Johannine Writings” [...], one of the most beautiful prints from the Officina Serpentis, shines with the colorful splendor of its watercolor decorative border so deceptively ‘real’ that it seems as though Schoppmeyer had set up his drawing desk right in the middle of Master Creussner’s workshop around 1480.” (“The Johannine Writings [...] , one of the most beautiful prints from the Officina Serpentis, shine with the colorful splendor of their watercolor decorative border so deceptively ‘authentic’ that it seems as though Schoppmeyer had set up his drawing desk right in the middle of Master Creussner’s print shop around 1480.”) (Jürgen Eyssen). - The unique binding features red silk endpapers, two-tone hand-stitched headbands, and five laced-in parchment support bands. - The large cover vignette is monogrammed “H.S.” Silk endpapers at the internal joints.