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WHO WAS VICTOR HAMMER
ictor Karl Hammer, a Viennese society portraitist and painter of religious and mythological scenes, was also a print-maker who mastered the 17th-century art of the mezzotint, drew in silverpoint, worked as a sculptor, architect, maker of musical instruments, designer of uncial typefaces, printer, bookbinder, author, and teacher.
Hammer was trained at the Vienna Academy and afterwards shared a studio with the painter Richard Gerstl. Gerstl, after an affair with the wife of Arnold Schonberg, committed suicide, an event that perhaps caused Hammer to remain afterwards preoccupied with the theme of Christ and the adulteress, a biblical episode that he painted in five versions. Hammer was elected to the Vienna Secession in 1912, joining Gustav Klimt and others, but later withdrew to travel and pursue a more independent course.
He was encouraged to build clavichords by Albert Schweitzer, prepared a portrait bust of Hugo von Hofmannsthal for a monument in Salzburg, and made a mezzotint portrait of the musicologist Heinrich Schenker, among numerous other c

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Victor Hammer

American painter

For the businessman and art collector, see Victor Hammer (businessman).

Victor Karl Hammer (December 9, 1882 – July 8, 1967) was an Austrian-born American painter, sculptor, printer, and typographer.

Early life

Hammer was born in Vienna, Austria to Karl and Maria (Fuhrmann) Hammer. He began his apprenticeship in architecture at the age of fifteen in the studio of Camillo Sitte, author of Der Staedte-Bau nach seinen kuenstlerischen Graundsaetzen. In 1898, he transferred to the Academy of Fine Arts Vienna, which he left ten years later. Hammer received the Prix de Rome in 1909.^[1]

Professional artist

Hammer produced his first type design, Hammer Uncial, in 1921. In 1922, he moved to Florence, Italy, where he set up a printing press. In 1929, he moved his printing operation into the Villa Santuccio in Florence and named it the Stamperia del Santuccio. The first book that was printed in this operation was Milton'sSamson Agonistes (1931), using what would be known as his Samson Uncial type. Punches for the t

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Musings on Victor Hammer's unique character for the personal “I” in his uncial type faces. By Peter Thomas (2016)

Victor Hammer is well known in calligraphic circles for his rendering of uncial scripts into metal type, and he is well known in fine press printing circles for his immaculate presswork when using those types to print fine press books, but to the more general public, for whom typography is basically unimportant, he is pretty much an unknown. I first learned of Victor Hammer, his uncial types, and his fine press books whle I was working with William Everson at the Lime Kiln Press in the library of the University of California, Santa Cruz. Everson, a poet and printer, admired both the craftsmanship and design of Hammer’s Stamperia del Santuccio books. Everson’s use of Hammer’s American Uncial in his second book, A Triptych for the Living, is a testimony to that admiration, and perhaps an unexpressed acknowledgement of their kinship. Like Hammer, Everson uncompromisingly sought perfection in his printing. And both were deeply spiritual: Everson spent almost two decad