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Edition 2000. . In-12. Broché. Etat d'usage, Couv. défraîchie, Dos satisfaisant, Intérieur frais. 125 pages. Nombreuses photographies et illustrations en noir et blanc et en couleurs dans et hors texte.. . . . Classification Dewey : 633.7-Plantes alcaloïdes (tabac, thé, cacao, café, pavot)
Reference : RO80207171
"collection ""Tout Savoir"" n°30. Classification Dewey : 633.7-Plantes alcaloïdes (tabac, thé, cacao, café, pavot)"
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5 book(s) with the same title
Krypto the superdog - Premiere mission - Bibliotheque rose N°236
HACHETTE. 2008. In-12. Broché. Etat d'usage, Couv. convenable, Dos satisfaisant, Intérieur frais. 59 pages illustrées en couleur. . . . Classification Dewey : 843.0692-Livres d'enfants
Classification Dewey : 843.0692-Livres d'enfants
Danicorum Monumentorum Libri Sex: E spissis antiquitatum tenebris et in Dania ac Norvegia extantibus ruderibus eruti + Regum Daniae Series duplex et Limitum inter Daniam & Sveciam Descriptio. Ex vetustissimo Legum Scanicarum Literis Runicis in membran... - [THE FIRST WRITTEN STUDY OF RUNES]
Hafnia, Joachim Moltke, 1643 + Melchior Martzan, 1642. Small folio. Bound in a nice contemporary full calf binding with raised bands to richly gilt spine. Spine worn and corners bumped. A damp stain throughout, mostly faint. Title-page of ""Danicorum Moumentorum"" with a contemporary presentation-inscription to verso: ""Ex donatione amici et fautoris nei Secretarii Rejersen./ Wedege."" Contemporary handwritten corrections and additions to the Index. Engraved title-page (by Simon de Pas). (24), 526, (16) pp. + large folded woodcut plate (the Golden Horn). Large woodcuts in the text + (12), 36 pp. The text is in two columns, in Latin and runes. Captions and some runic letters printed in red.
Scarce first editions of both of Worm's famous masterpieces on runes - 1) ""Danicorum Monumentorum"" being Worm's runic magnum opus, which not only constitutes the first written study of runestones and the first scientific analysis of them, but also one of the only surviving sources for depictions of numerous runestones and inscriptions from Denmark, many of which are now lost"" 2) ""Regum Daniae"", which contains the highly important reproduction of The Law of Scania in runes as well as in Latin translation with commentaries. The ""Danicorum Monumentorum"", with its numerous woodcut renderings of monuments with rune-inscriptions - including the world-famous folded plate of the Golden Horn, which had been found only five year previously, and which is now lost - is arguably the most significant work on runes ever written, founding the study of runes and runic monuments. Most of the woodcuts were done after drawings by the Norwegian student Jonas Skonvig"" they are now of monumental importance to the study of runes and runic monuments, not only because they appeared here for the first time in print, but also because many of the monuments are now lost and these illustrations are the only surviving remains that we have. Ole Worm (Olaus Wormius) (1588-1655) was a famous Danish polymath, who was widely travelled and who had studied at a range of different European universities. Like many of the great intellectuals of the Early Modern era, Worm's primary occupation was as a physician, for which he gained wide renown. He later became court doctor to King Christian IV of Denmark. In 1621, Worm had become professor of physics, but already the year before, in 1620, had he begun the famous collection that would become one of the greatest cabinets of curiosites in Europe (and one of the first museums) and which would earn him the position as the first great systematic collector (within natural history) in Scandinavia. It was his then newly begun collection that enabled him, as professor of physics, to introduce demonstrative subject teaching at the university, as something completely new. He continued building and adding to his magnificent collection, now known as ""Museum Wormianum"", throughout the rest of his life. Worm's fascination for antiquarian subjects not only resulted in his famous ""Museum Wormianum"", but also in a deep fascination with early Scandinavian and runic literature and the history and meaning of runestones. These monuments found throughout Scandinavia, were carved with runic inscriptions and set in place from about the fourth to the twelfth centuries. In most cases, they are burial headstones, presumably for heroes and warriors.Worm published works on the runic calendar, translations of runic texts and explications of folklore associated with the runestone histories. By far his most extensive and important work was the ""Danicorum Monumentorum"", which was the first serious attempt at scientifically analyzing and recording all 144 then known runestone sites in Denmark. With the King's blessing and support, Worm contacted bishops all over the country who were instructed to provide details and drawings of the barrows, stone circles and carved inscriptions in their regions.Many of the monuments recorded in this splendid work have since disappeared. Some of them appeared in the fire of Copenhagen, to which they were brought at the request of Worm himself. The book thus contains highly valuable data about missing sites in Scandinavian archaeology and is an invaluable source to anyone studying runes and runic monuments. Included in the work are Worm's three earlier, small treatises on runes, here collected for the first time and set into a systematic an scientific context, among them his 1641 treatise on the Golden Horn. For Danes, the Golden Horns, discovered on 1639 and 1734 respectively, with their amazing, complicated, and tragic story, constitute the Scandinavian equivalent to the Egyptian pyramids and have been the object of the same kind of fascination here in the North, causing a wealth of fantastical interpretations, both historical, literary, mystical, linguistic, and artistic. The two golden horns constitute the greatest National treasure that we have. They are both from abound 400 AD and are thought to have been a pair. A span of almost 100 years elapsed between the finding of the first horn and the finding of the second. Both findings are now a fundamental part of Danish heritage. In 1802 the horns were stolen, and the story of this theft constitutes the greatest Danish detective story of all times. The thief was eventually caught, but it turned out that he had melted both of the horns and used the gold for other purposes.Before the horns were stolen, a copy of the horns was made and shipped to the King of Italy, but the cast which was used to make this copy was destroyed, before news had reached the kingdom of Denmark that the copies made from the cast were lost on their way to Italy, in a shipwreck. Worm's work constitutes not only the earliest description of the seminal first horn, but also the most important source that we now have to the knowledge of the horn. It is on the basis of the description and depiction in the present work that the later copies of the first horn were made. Both horns were found in Gallehus near Møgeltønder, the first in 1639, by Kirsten Svendsdatter, the second in 1734, by Jerk (Erik) Lassen.Kirsten Svendsdatter made her discovery on a small path near her house, initially thinking that she had stumbled upon a root. When she returned to the same place the following week, she dug up the alleged root with a stick, and took it for an old hunting horn. She brought it back home and began polishing it. During the polishing of it, a small piece broke off, which she brought to a goldsmith in Tønder. It turned out that the horn was made of pure gold, and rumors of Kirsten's find quickly spread. The horn was eventually brought to the King, Christian IV, and Kirsten was given a reward corresponding to the gold value of the horn. The king gave the horn to his son, who had a lid made for it so that he could use it as a drinking horn. An excavation of the site where the horn was found was begun immediately after, but nothing more was found - that is until 95 years later when Jerk Larsen was digging clay on his grounds - merely 25 paces from where Kirsten had found the first horn. The year was now 1734. The horn that Larsen found was a bit smaller in size and was lacking the tip, but it still weighed 3,666 kg. As opposed to the first horn, this second horn had a runic inscription. After the horn had been authenticated, it was sent to King Christian VI, where it was placed in a glass case in the royal art chamber, together with the first horn. Before being placed here, a copy was made of both horns. These copies were lost in a ship wreck, however, and the casts had already been destroyed. In the fatal year of 1802, the gold smith and counterfeiter Niels Heldenreich broke in to the royal art chamber and stole the horns. By the time the culprit was discovered, the horns were irrevocably lost - Heldenreich had melted them and used the gold to make other things, such as jewellery. A pair of ear rings that are still preserved are thought to have been made with gold from the horns, but this is all that we have left of the original horns. New horns were produced on the basis of the descriptions and engraved illustrations that were made after the finding of the horns. And thus, the plate used in the present works constitute our main source of knowledge of the appearance of the first horn. ""The longest of the golden horns was found in 1639 and described by Ole Worm in the book 'De Aureo Cornu', 1641 (a treatise which is also included in his greater ""Danicorum Monumentorum""). The German professor at Soro Academy Hendrich Ernst, disagreed with Worm’s interpretation of the horn. Ernst believed that the horn came from Svantevits temple on Rügen, while Worm interpreted it as a war trumpet from the time of Frode Fredegods, decorated with pictures, calling for virtue and good morals. Worm immediately sent his book to Prince Christian and the scholars at home and abroad. You can see in his letters, that not only did the horn make an impression, but also the letter and the interpretation. In that same year there were such lively discussions on the horn among the scholars of Königsberg, now Kaliningrad!In 1643 Worm reiterated the description of the golden horn in his great work on Danish runic inscriptions, 'Monumenta Danica'. In 1644, his descriptions of the horn reached for scholars and libraries in Schleswig, Königsberg, London, Rome, Venice and Padua. Several learned men wrote poems for him, and the golden horn was mentioned in an Italian manus. Map Cartoonist Johannes Meyer placed the finds on several of his map of South Jutland. When the Swedish commander Torstensson attacked Jutland in 1643, Peter Winstrup wrote a long poem in Latin addressed to the bishop of Scania (which at that time still belonged to Denmark), the poem was called 'Cornicen Danicus'. It was immediately translated into Danish, entitled 'The Danish Horn Blower'. He interpreted the horn and its images as an warning of war, and his interpretations were very hostile to the Swedish. Paul Egard and Enevold Nielssen Randulf were among some of the other scholars who interpreted the Golden Horn In the 1640s. They were both deans in Holstein, and had a more Christian interpretation of the horn.All these works were illustrated with copies of Worms depictions of the horn. The Golden Horn remained known throughout the 1600s, both in terms of interpretations of the horn and designs. The found of the short golden horn in 1734 renewed the interest of the meaning of the horns."" (National Museum of Denmark). Thesuarus: 727 & 733 Rejersen: Holmens chef Wedege: Regiments-Quarteer-Mester
De naturalium effectuum causis, sive de Incantationibus, Opus abstrusioris philosophiae plenum, & brevissimis historiis illustratum atque ante annox XXXV compositum, nunc primum uerò in lucem fideliter editum. Adiectis breuibus scholijs à Gulielmo Gra... - [ESTABLISHING THE ENLIGHTENMENT]
Basel, [Per Henrichum Petri, 1556 - on colophon]. An absolutely lovely copy of the exceedingly scarce first edition, first printing, of one of the most influential and important works in the history of modern thought. A work that has for a long time been overlooked due to the gross neglect of the history of Renaissance philosophy, but which has nonetheless been seminal to the development of scientific and philosophical thought from the 16th century and onwards. With a purely naturalistic and immanent view of the natural process, Pomponazzi here frees man's thought from the bounds of religion and provides modern thinkers and scientists with pure empiricism and naturalism. ""Er will das ""Wissen"" and die Stelle des ""Glaubens"" stellen"" - ""die ""dämonische"" Kausalität des Glaubens weicht der Kausalität der Wissenschaft"" (Cassirer, p. 110 + 111). 8vo. Contemporary full limp vellum, with vellum cords to hinges. Remains of vellum ties to boards. A bit of brownspotting, but all in all a lovely, completely unrestored copy in its first binding. Five large woodcut initials and large woodcut printer's device to verso of last leaf. (16), 349, (3). Adams: P-1827" Wellcome: I:5153" DSB: XI:71-74.A.H. Douglas: ""The Philosophy and Psychology of Pietro Pomponazzi"", 1910.M.L. Pine: ""Pietro Pomponazzi: Radical Philosoper of the Renaissance"", 1986.Thorndyke: ""A History of Magic and Experimental Science"", Vol. V, 1966 (4th printing)P.O. Kristeller: ""Eight Philosophers of the Italian Renaissance"", 1965.J.H. Randall, in: ""The Renaissance Philosophy of Man"", 1956 (4th impression).B.P. Copenhaver & C.B. Schmitt: ""Renaissance Philosophy"", 1992.E. Cassirer: ""Individuum und Kosmos in der Philosophie der renaissance"", 1969 (3. Aufl. - orig. 1927).See also: Kristeller: ""Renaissance Thought and its Sources"""" ""Medieval Aspects of Renaissance Learning"""" ""Renaissance Thought II, Papers on Humanism and the Arts"". ""Pomponazzi's thought and reputation were extremely influential in the centuries after his death. Even before it was printed, his treatise ""On incantations"" circulated widely in manuscript among philosophers, physicians and early modern naturalists (see Zanier 1975). Due to his mortalist theory of the soul, 17th-century ""free thinkers"" regarded Pomponazzi as one of their own, portraying him as an atheist (see Kristeller 1968"" Paganini 1985). Enlightenment thinkers of the 18th century pushed to extremes his distinction between natural reason and faith, while 19th-century positivists, such as Ernest Renan and Roberto Ardigò, saw in Pomponazzi a forerunner of their own beliefs and a champion of naturalism and empiricism."" (SEP).
Exceedingly scarce first edition of Pomponazzi's seminal ""De Incantationibus"", perhaps the most original work of natural philosophy of the Renaissance and arguably the first work of what comes to be the Enlightenment. The work, which is one of Pomponazzi's most important productions (along with his treatise on the immortality of the soul), constitutes a forerunner of Naturalism and Empiricism and could be considered the first true Enlightenment work ever, causing Pomponazzi, our greatest Renaissance philosopher, to be generally considered ""The last Scholastic and the first man of the Enlightenment"" (Sandy, Randall, Kristeller). The appeal to experience is the main concern of the work, and its strict and completely novel way of treating the subject matter resulted in a hitherto unattained elevated position of philosophy in the Latin West, providing to philosophy a new method that remains dominant to this day and without which we would scarcely be able to imagine modern philosophy. Proclaiming the victory of philosophy over religion, the ""de Incantationibus"" changed the entire history of philosophy - philosophy being to Pomponazzi the supreme truth and the final judge of all phenomena.""Pomponazzi's conclusion [in the ""De Incantationibus] results from a dramatic change in method which in turn is based on a profoundly new attitude toward philosophical inquiry. Medieval theologians and philosophers as well as most Renaissance thinkers were content to limit the role of reason in nature because they sincerely believed that the Christian God intervened in the natural order to create miraculous occurrences. As we have seen, this belief prevented their scientific convictions from destroying Christian doctrine by exempting central Biblical miracles from natural process. Even those who held that Christian revelation and Aristotelian science were irreconcilable maintained a sincere fideism which allowed each universe to remain intact, each standing separate from the other. But once Pomponazzi applied the critical method of Aristotelian science to all religious phenomena, Christian miracles were engulfed by the processes of nature. Absorbed by the ""usual course of nature"", the miracle could no longer be the product of divine fiat. Indeed Christianity itself became merely another historical event, taking its place within the recurring cycles of nature, and destined to have a temporal career within the eternal flow of time."" (Pine, p. 273).""De Incantationibus"" constitutes one of the single most important works of the Renaissance. Bringing everything in the world under the general laws of nature, the history of religion as well as all other facts in experience, ""De Incantationibus"" gives us, for the first time in the history of philosophy an outline of a philosophy of nature and of religion, an outline that came to be seminal in the history of philosophy and science throughout the following centuries. With the main aim of the work being to determine the fact that there is no such thing as ""supernatural"", no magic, no omens, no witchcraft, no divine intervention, no apparitions, etc., etc. - all marvelous events and powers observed in experience or recorded in history have their natural, scientific explanation, they are all within the scope of principles common to all nature -, it is no wonder that it was placed on the index of forbidden books immediately upon its publication, as the only of Pomponazzi's works ever. The analysis of the history of religions and the theory of the nature and use of prayer that Pomponazzi here develops is hugely interesting and so far ahead of its time that one hardly believes it. E.g. the notion that religious doctrines all aim, through fables and myths (which he disproves), to preserve the social order rather than to discover the truth, is not something you will find in any other work of the Middle Ages or the Renaissance. ""[H]e brings the whole phenomena of religious history - the changes of religious belief, and the phases of thaumaturgic power - under certain universal laws of nature. Of these facts as of all others, he suggests, there is a natural and a rational explanation" in them the powers that are at work in all nature are still operative" and they are subject to the laws and conditions that govern nature generally - the laws of change, of development, of growth and decay, and transformation in decay."" (Douglas, p. 299).""In regard to the religious issue, I have tried to show that he makes a claim for the absolute truth of philosophy and relegates religion to the purely practical function of controlling the masses. Religious doctrines contain a kind of truth because they can persuade men to act so as to preserve the social order. But religious doctrine has social value rather than speculative veracity. [...] rational truth is the only truth. It is really compatible only with complete disbelief. And I think that this is the statement that Pomponazzi makes. The only doctrines that he accepts are those of philosophy. Philosophy rejects the personal Christian God acting within history and eliminates the miracles of religion. Philosophy reduces to the absurd the notion of a life after death. And finally philosophy destroys revelation itself by viewing it as the product of heavenly forces rather than the act of divine will."" (Pine, pp. 34-35). The work was originally written in 1520, but was not published in Pomponazzi's life-time. It circulated in manuscript form, however, and was also as such widely noted. In 1552, 27 years after Pomponazzi's death, the manuscript was brought to Basel by Pomponazzi's student Guglielmo Gratarolo, who had had to flee Italy due to his anti-religious views. Here, in Basel, he had the book printed for the first time, with a foreword written by himself, in 1556. This was the very first time that the book was published, as it had also not been included in the standard edition of Pomponazzi's collected works, published at Venice the year after his death, 1525 - presumably due to its dangerous and revolutionary views.In his preface, Gratarolo expresses fear that someone may think him either over curious or less Christian for publishing this book. He furthermore explains that he had purchased the manuscript 20 years earlier and brought it with him North when leaving Italy 6 years previously. ""Granting, however, that there may be something in the work which does not entirely square with Christianity, Gratarolo thinks that it should not be suppressed or withheld from the scholarly public, since it contains more solid physics and abstruse philosophy than do many huge commentaries of certain authors taken together."" (Thorndyke, V, p. 99-100). Come the Renaissance, the idea of eliminating demons and angels and attempts at a showdown with magical transformations and the like were not completely novel in themselves. Much scientific thinking of the Middle Ages and the Renaissance carried such beliefs that had in some form or other been current for a long time. But up until Pomponazzi's treatise, these ideas had always been surrounded by hesitance and a clear aim at still protecting the miraculous nature of Christianity itself, not leading the theories forward and not letting them bear any relevance. ""Let us pause here a moment to estimate the place of this radical treatise [i.e. ""De Incantationibus""] in the history of European rationalism. [...] It was Pomponazzi's achievement to go beyond these earlier hesitations and qualifications, particularly in regard to the astrological determination of religious belief. By dramatic shifts of emphasis and the extension of certain ideas to their logical limits, Pomponazzi utterly transformed the context in which these earlier views occurred. In their newly radicalized form, they challenged the supremacy of revelation by elevating philosophy to a position hitherto unattained in the Latin West"". (Pine, p. 268).""[...] Even this brief sketch makes clear that Pomponazzi came at the end of a long scientific tradition which had absorbed, and to some degree, subordinated Aristotelian-Arabic science and astrology to the Christian universe. But if we look at each strand of this tradition, we can see how Pomponazzi carried these concepts to their furthest limits."" (Pine, pp. 268-72). Pomponazzi clearly sought to explain all miraculous cures, events, etc. through natural powers. All sequences and concoctions which could seem magical or supernatural are within the same framework as other observed sequences and concoctions in nature. We may not be able to explain all of them (although Pomponazzi does attempt in the treatise to provide specific and elaborate natural, physical explanations of a large number of ""magical"" and ""supernatural"" events), but that is merely a lack in our intellect or understanding and by no means because these occurrences or events are not governed by nature and the physical laws of nature. ""This whole mode of explanation of the marvelous in nature and history is constantly pitted against the orthodox theory which attributed magic and miracles to the agency of angels or demons. The book ""De naturalium Effectuum Causis"" is a uniform polemic against that theory, as essentially a vulgar superstition. It is the tendency of the vulgar mind, he says, always to ascribe to diabolic or angelic agency events whose causes it does not understand."" (Douglas, p. 275). ""These fictions are designed to lead us to truth and to instruct the common people who must be led to the good life and turned away from evil just like children, that is to say, by the hope of reward and the fear of punishment"" and it is by these vulgar motives that they are led to spiritual knowledge, just as children pass from delicate nourishment to more solid nourishment. Hence it is not far from my concept or from the truth that Plato taught the existence of angels and demons not because he believed in them but because it was his aim to instruct the ignorant."" (Pomponazzi, ""De Incantationibus"", 10, pp. 201-202).In order to understand the monumental accomplishment of Pomponazzi's ""De Incantationibus"", one must realize which tradition he is inscribed in, namely that of Italian Aristotelianism (as opposed mainly to the Renaissance Platonism). It is within this long tradition that he effects a revolution. ""In the Italian schools alone the emerging science of nature did not mean a sharp break with reigning theological interests. To them it came rather as the natural outcome of a sustained and co-operative criticism of Aristotelian ideas. Indeed, that mathematical and mechanical development which by the end of the sixteenth century produced Galileo owes very little to the Platonic revival but received powerful stimulus from the critical Aristotelianism of the Italian universities."" (Ren. Phil. of Man, p. 12).Pomponazzi stood at a crossroad in the history of Aristotelianism. He still studied the great logicians and natural philosophers of the 14th century, which his Italian humanistic colleagues had given up (focusing instead on ""man"" and his place in the universe), but at the same time he had a highly original approach to the teachings of Aristotle and a unique uninhibited approach to the nature of the universe, and he responded philosophically to the achievements of humanism, always seeking the truth and the ""naturalist"" explanation. Of that critical Aristotelianism which sought to find the true meaning of the works of Aristotle, lay them bare, and develop them further to find the true nature of the universe, to explain how the world functions without any preconceived notions (like the belief in Christ, etc.), Pomponazzi was a forerunner. With his ""De Incantationibus"", this ""last scholastic and the first man of the Enlightenment"" paved the way for the Enlightenment of the centuries to come, for rational free thinking. His quest against the theologians and ""his scorn for all comfortable and compromising modernism in religion, and his sober vision of the natural destiny of man"" (Randall, p. 268) combined with his refusal to leave the bounds of the Aristotelian tradition, his meticulous use of the medieval method of refutation, and his thorough rationalism, enabled him to revolutionize the Aristotelianism of the 16th century - and indeed the entire trajectory of philosophy of the ages to come - and invoke the period of scientific free-thinking that breaks free of Christian doctrines and which later comes to be the Enlightenment. ""Against Pico's denial of astrology as incompatible with human freedom, he tried to make an orderly and rational science of the stars, opposed to all superstition - the naturalist's answer to the Humanist"". (Randall, p. 277).""During the twelve decades or so between Pomponazzi's arrival (1484) and Galileo's departure in 1610, the learned community that Shakespeare called ""fair Padua, nursery of arts"", achieved a distinction in scientific and medical studies unmatched elsewhere in Europe. Thus, Pomponazzi's career in northern Italy brought him close to the most exciting advances of his time in science and medicine. In keeping with the nature of his university appointments, he approached Aristotle from a perspective quite distant from Bruni's humanism or Lefèvre's theologizing. [...] Pomponazzi's Aristotelianism developed entirely within the framework of natural philosophy"". (Copenhaver & Schmitt, p. 105). ""With this final explanation, Pomponazzi has discovered natural causes for all miraculous events and hence has eliminated the miracle as a category for understanding the process of nature. [...] As we have seen, Pomponazzi's theory offers three fundamental natural explanations of events which Christianity ascribes to the miraculous intervention of angels and demons. [...] Here Pomponazzi's method takes its most radical turn. Biblical miracles are now also found to have natural causes. Moses, we learn, performed his task by natural means. The ""dead"" revived by the prophets were not really dead. And the acts of Christ and the Apostles can be explained ""within natural limits""."" (Pine, pp. 254-56).""The histories of other religions record miracles similar to those of Christianity, and Pomponazzi justifies his frequent citation of historians in a philosophical work as authorities for past natural events of rare occurrence. Such is the most detailed and carefully worked out, the most plausible and at the same time most sweeping expression of the doctrine of astrological control over the history and development of religions that I have seen in any Latin author."" (Thorndyke V, pp. 108-9).FULLER DESCRIPTION AVAILABLE UPON REQUEST-
El Capital. Resumido y acompanado de un estudio sobre el socialismo científico por Gabriel Deville. Primera edición [Marx / Deville] (+) Socialismo Utopico y Socialismo Cientifico [Engels] (+) La Ley de Los Salarios y Sus Consecuencias [Guesde]. - [FIRST SPANISH EDITION OF THE MOST IMPORTANT ABRIDGED VERSION OF ""THE CAPITAL""]
Madrid, Ricardo Fé, 1887. 8vo. Contemporary brown half calf with gilt lettering and ornamentation to spine and red paper covered boards. Most leaves evenly browned (due to the quality of the paper) and some brownspotting to last few leaves. Overall a very good copy indeed of this otherwise fragile book. [Socialismo Utopico... :] pp. (1)-91, (1) + frontispiece of Engels" [La Ley de Los Salarios... :] pp. (1)-44 + frontiespiece of Guesde" [El Capital:] pp. (I)-LVI, 263 pp.
The exceedingly scarce first Spanish edition of the most important abridged version of Marx's Capital ever to have appeared, published in the same year as what is generally accepted as the first Spanish edition of ""Das Kapital"" (Zafrilla's abridged version - defectively translated from Roy's French version - which was published in newspaper installments 1886-87).This Spanish translation was made from the French of Gabriel Deville (1854 -1940), the great French socialist theoretician, politician and diplomat, who did more than almost anyone else to raise awareness of Karl Marx's theories of the weaknesses of capitalism - most effectively through the present work, which came to have a profound influence upon the spreading of Marxist thought throughout the Spanish speaking part of the world. ""The epitome, here translated, was published in Paris, in 1883, by Gabriel Deville, possibly the most brilliant writer among the French Marxians. It is the most successful attempt yet made to popularize Marx's scientific economics. It is by no means free from difficulties, for the subject is essentially a complex and difficult subject, but there are no difficulties that reasonable attention and patience will not enable the average reader to overcome. There is no attempt at originality. The very words in most cases are Marx's own words, and Capital is followed so closely that the first twenty-five chapters correspond in subject and treatment with the first twenty-five chapters of Capital. Chapter XXVI corresponds in the main with Chapter XXVI of Capital, but also contains portions of chapter XXX. The last three chapters-XXVII, XXVIII, and XXIX-correspond to the last three chapters-XXXI, XXXII, and XXXIII-of Capital."" (ROBERT RIVES LA MONTE, Intruductory Note to the 1899 English translation).The Spanish translator of the work is Antonio Atienza, a typographer and translator at the press of Ricardo Fé, who in 1886 volunteered his work at the newly founded ""El Socialista"", the Spanish flagship publication of Marxist socialism. It was also in 1886 that Atienza translated the present work, with the publication following in 1887. This translation happened almost simultaneously with the ""translation"" by Zafrilla, which appeared in weekly installments in the rival newspaper ""La Républica"", and the two first versions of ""Das Kapital"" to appear in Spanish tell the story of more than just the desire to spread Marx's ideas in Spain. Both versions were part of an ongoing struggle between political parties vying for the loyalty of Spain's workers (see more below). THE WORK IS OF THE UTMOST SCARCITY, WITH MERELY THREE COPIES LISTED ON OCLC (two in Bristish Library and one in Bibliothèque Nationale) and none at auction over the last 40 years at least.Backgrund for the publication:Among the numerous nascent political organizations that sprouted in the last half of 19th century Spain, many of them as a result to the tumultuous years after the so-called ""Glorious Revolution"" of 1868, was the Partido Socialista Obrero Español (PSOE). The party was founded by Pablo Iglesias in 1879, and it was the second socialist party in Europe, preceded only by the Sozialdemokratische Partei Deutschlands (SPD). Notably, of the original twenty-five founding members sixteen were typographers. March of 1886 was a turning point for the PSOE, as they began to publish a weekly newspaper, ""El Socialista"", in order to reach a wider audience throughout Spain and thus advance the Marxist socialist agenda, of which the paper became the flagship. (To this day, it is the official paper of the PSOE, the present ruling party in Spain, although it was suppressed during the years of Franco's dictatorial regime and published sporadically in exile, in France, or clandestinely in Spain. It was again published regularly since 1978. The PSOE gave up Marxism in 1979 in favor of Democratic Socialism.)In 1886 the translator of the present work, Antonio Atienza, was a typographer and translator at the press of Ricardo Fé. At the same time, he volunteered his work at the newly founded El Socialista, as the PSOE funds were quite limited-he wouldn't have a paid position in the paper until 1913. He translated articles by Engels, Guesde, and Buechner, among others.""Das Kapital"" had been published twenty years earlier. That it took so long to reach Spain in book form reveals, among other things, that up to that moment most of Marx's thoughts had filtered through to the workers' unions and parties by way of the writings of his followers as they were interpreted and explained by the intellectuals in charge of these organizations. It is also evident that the complexity of the book wouldn't be of much use to the average worker, factory and otherwise. Enter Deville's abridged version, which was more accessible in that some of the most basic ideas of Marx were digested and re-explained. The point was not to publish a book that could only be only be understood by economists and philosophers, but one that could be given to the workers. A rival party leftist party, considered by the PSOE as bourgeois, was the Partido Republicano Federal. One of its members, Pablo Correa y Zafrilla, undertook the task of translating the first volume of Das ""Kapital"". Quite usual for Spain at the time, the translation was published in weekly instalments to subscribers of their newspaper, ""La República"", starting in 1886 and ending in 1887. The paper then sold the cloth binding to its subscribers and offered to collect the installments to have the book bound for its customers. According to the ad in ""La República"" (22/1/1886), the translation is purportedly from the German original, but it has been clearly demonstrated that it is a defective translation from the French translation of Roy (Ribas). It seems very plausible that when the PSOE found out that someone else in Spain was beginning to publish a translation of the first volume of ""Das Kapital"", El Socialista decided to publish Deville's translation. In fact, the publication of El Capital by ""La República"" was briefly mentioned once in ""El Socialista"", and not in flattering terms (7/10/1887). That a Marxist newspaper disparaged against the first Spanish publication of ""Das Kapital"" reveals, among other things, that they were not terribly excited about some other party's publication producing a defective rendering of their guiding principles. On the other hand, that ""La República"" had decided to publish the book was probably brought about by the foundation of ""El Socialista"", as they saw that the PSOE now had the means to spread their ideas throughout the country. It is in no small way possible that the haste to publish the book brought about the many defects in the translation from the French of Roy as Correa hurried to finish it.José Mesa y Leompart, a typographer, translator, and Marxist ideologue and activist, had experienced the upheavals of the Commune of Paris during his exile after the 1868 revolution. He developed a friendship with Marx's son in law, Paul Lafargue, and his wife, Laura Marx-who themselves had been in exile in Spain during 1871-72-, as well as with Engels, with whom he shared much correspondence, and many other figures of the Marxist movement. He also met both Marx and Engels during their exile in London. His friendship with Pablo Iglesias was a major driving force behind the formation of the PSOE, and he collaborated with El Socialista both as a writer and as a financial supporter. Mesa writes to Engels in April of 1887 lamenting that some Spanish thinkers were using Marx's theories and the policies of the German Socialist Party to deny the concept of class struggle, despite the fact that ""we have […] proven to them that you and Marx have always said the opposite, and having quoted to them the very clear statements of the German Socialist Party"" [but] they remain unmovable, and at some point they even wanted to publish the abridged Capital by Deville, without the preface, and with notes interpreting the meaning in their own way-which we have impeded-(the Resumen [abridgement] of Deville will soon be published, faithfully translated into Spanish.""Therefore, as early as April of 1887 the present translation was already in progress, and in fact, according to Mesa, soon to be published, so it was apparently very advanced. It is then quite possible that Antonio Atienza was commissioned to translate the Deville's abridgement a few months earlier, and not unlikely as far as 1886, when ""La República"" was still publishing installments of the Correa translation. The PSOE is obviously trying to obscure and minimize Correa's translation by publishing the Deville book, as the task of translating ""Das Kapital"" from the original would be lengthy and costly, and it would have come out too late to ascertain their political hold on Marx's ideas. This translation of Deville, then, sees the light is in the very midst of the bickering between leftist parties, and is in fact a product of the confrontations between leftist ideologies. It was finally published about nine months after Mesa's letter to Engels. The first announcement in ""El Socialista"" appears in their November 11th, 1887 issue. The price is four pesetas, or about the cost of an entire year's subscription to the paper, although subscribers could purchase it at half price. Still, given that many subscribers were workers of scarce means, less than three hundred copies were sent out to the main Spanish cities, and that the total edition was probably about a thousand copies at most.The scarcity of this book can be underlined if one considers the virulent war that was waged against all socialist and Marxist literature during and after the Spanish Civil War by the dictatorial regime of Francisco Franco. Book purges and burnings were considerable throughout Spain since the onset of the war, in 1936. It is not that books were burnt sporadically and occasionally, but rather they were destroyed in a systematic and terrifyingly efficient manner. As early as September of 1936 official orders were given to all civil governors, mayors, school inspectors in the nationalist areas to purge all ""harmful"" books, such as pornography and books of a communist or Marxist content. Teachers, librarians, and private citizens, often purged their own libraries, public or personal, of such works in order to comply with the official orders. Countless people were summarily executed for owning certain books that revealed their political tendencies. Obviously, owning actual edition of a book by Marx was reason enough to be deemed guilty and likely executed. As the war advanced, many other such official orders were issued, and unfathomable numbers of books were burnt. To this is added that many libraries were burnt down during the bombardments that took place throughout the country, and that all the libraries of the leftist parties were systematically destroyed. The end of the war, in 1939, only made it official throughout the entire country that communist and socialist literature was banned. So even the few copies that might have survived the fires and the purges were surely disposed of by their owners. It is no small wonder that this particular copy did manage to survive.Withbound in the present volume is the first Spanish translation of Engels' ""Socialism: Utopian and Scientific"" and Jules Guesde's work on the Law of Wages. See:Ribas, Pedro. ""La primera traducción castellana de El capital, 1886 - 1887"", in Cuadernos Hispanoamericanos, Madrid, junio de 1985, pp. 201-210.Castillo, Santiago. ""Marxismo y socialismo en el siglo XIX español"", in, Movimiento sociales y estado en la España contemporánea, Manuel Ortiz et al (coord.), Universidad de Castila-La Mancha, 2001Boza Puerta, Mariano, and Sánchez Herrador, Miguel Ángel. ""El martirio de los libros: una aproximación a la destrucción bibliográfica durante la Guerra Civil."" In Boletín de la Asociación Andaluza de Bibliotecarios. Año nº 22, Nº 86-87, 2007, págs. 79-96Tur, Francesc. https://serhistorico.net/2018/04/04/el-bibliocausto-en-la-espana-de-franco-1936-1939/
A truly splendid and unique collection of 23 Hans Christian Andersen-items that together tell the true story of Andersen's life and sheds light on all aspects of his life and work. The collection is divided into the following (full descriptions belo... - [MAGNIFICENT HANS CHRISTIAN ANDERSEN-COLLECTION]
(1822) - 1872.
With the present Hans Christian Andersen-collection, we have aimed not at an exhaustive collection of ALL of his many writings nor at a LARGE collection, but at an exquisite, chosen collection that tells us the true story of Andersen's life. A collection that enlightens us about both the author and the man Hans Christian Andersen and that sheds light on all aspects of his life and work. A collection that epitomizes quality, scope, and importance, not merely numbers of items nor works that are not particularly important in his life's work. Every one of the 23 items in the present collection has been carefully chosen to represent a certain Aspect of Hans Christian Andersen at a certain time of his life, in an attempt to get as close to the great fairy tale author as possible. The items basically span his entire career - from his first book, published at the age of 17 (and only known in about 10 copies) to an original manuscript poem by the ageing author at the age of 67. The 23 carefully chosen and unique items cover his earliest publications that are of extreme scarcity, his three seminal fairy tale cycles that catapulted him into fame and created the genre of the fairy tale, for which he is now famous world-wide, five magnificent presentation-copies (among them an absolutely magnificent copy of his very first fairy tale, one of the best presentation-copies known) that each give us an insight into the poet Andersen and into his circle of friends, six splendid original letters that are all different in style and content and written from all over the world (among them one of the extremely rare letters known by him written in English, in Latin hand), an original manuscript, which is an extreme scarcity on private hands and something one may never come by again, two books from Andersen's own library, which is extremely rare to find, as only 75 such books are known and almost all of them are in institutional holdings, and finally the three main translations that ensured his fame in the rest of the world: the most important translations into German, English, and French respectively. The collection is divided into the following seven categories, and below follows a short preview and introduction to each. Upon request, a document with full, elaborate descriptions of each item will be provided. 1. Debuts/earliest publications (see also 3.1.)2. The three fairy tale collections/cycles3. Presentation-copies (see also: 2.3.)4. Letters5. Manuscript6. Books from Andersen's library7. The three main translations1. Debuts/earliest publications1.1. Ungdoms-Forsøg / Gjenfærdet ved Palnatokes Grav, en Original Fortælling" og Alfsol, en original Tragoedie. Ungdoms=Forsøg. Kjöbenhavn, [1822]. The extremely rare first printing of Hans Christian Andersen's first book - with facsimiles of the title-page, the contents-leaf and a further four leaves. The book is exceedingly rare. A title-issue appeared in 1827. No more than about ten copies in all of both the first issue and the title-issue are known to exist - only a couple of them are known in private collections, and less than a handful of copies are known outside of Denmark. The present publication, his first book, is of immense importance to Andersen's life and work and is arguably THE most important piece of Anderseniana. 1.2. Ved min Velgører Provst Gutfelds Død. Slagelse, 1823.The extremely rare first printing of the 1823-issues of this slightly obscure newspaper, which contains Hans Christian Andersen's third publication. This exceedingly rare piece of Anderseniana was published when the master of the fairy tale genre was merely 17 years old, namely in February 1823. The present publication constitutes one of the two pieces of publication that are at the epicentre of the coming-to-be of the greatest poet and author to emerge from Danish soil. This little piece is a heartfelt, almost perfectly stylized poem that constitutes an obituary of Hans Christian Andersen's early benefactor, Gutfeld, who was responsible for Collin accepting to be Andersen's benefactor. It was due to Gutfeld and his belief in Andersen that he made it on into the world and was taken seriously enough - at the mere age of 17 - to later be allowed to follow his heart and his life dream - that of writing.1.3. Fodreise fra Holmens Canal til Østpynten af Amager i Aarene 1828 og 1829. Kjöbenhavn, 1829. The rare first edition of Hans Christian Andersen's debut novel, ""Journey on Foot"", here in the extremely scarce original printed wrappers. Andersen himself considered this book his debut and refers to it as ""my first publication"". It came to play a tremendous role in the development of his writing and constitutes one of his most important works. It is the first piece of Andersen that yields any success and the first work for which he gained any recognition. ""It is a well-known fact that Hans Christian Andersen made his début as a writer three times during his youth. The first time he published a book was in 1822, when ""Youthful Attempts"" came out... He was 17 years old, penniless and in need for help, but the main part of the circulation ended up in the paper mill... The second time he made his début was in 1829, when he published ""Journey on Foot from Holmen's Canal to the Eastern Point of Amager"", a book which can hardly be classified as a travel book.. it seems a subtle and humorous arabesque and a literary satire. This book was published in the year after he had left grammar-school and was qualifying for the entrance examination to academic studies at the university. It can rightly be regarded as a key, which enables us to understand the entire development of his later production...2. The three fairy tale-collections2.1. Eventyr fortalte for Børn. (1.-3. Hefte) + Eventyr fortalte for Børn. Ny Samling (1.-3. Hefte). 2 Bind. Kjöbenhavn, 1835-1847. A lovely set of this exceedingly rare collection of Andersen's earliest fairy tales. This legendary fairy tale-collection that created the fairy tale-genre and brought Andersen international fame, consists in six parts that together make up two volumes. As with most of the other few existing copies, the present set is a mixture of issues and likewise has certain wants concerning title-pages, half-titles and tables of contents. ""During Andersen's lifetime 162 of his Fairy Tales were published, but the scarcest and most difficult to obtain are these six little pamphlets. We do not know exactly how many, or how few, copies were printed, but we do know that no copy with all the title pages and tables of contents has ever been offered for sale.""2.2. Nye Eventyr. 2 Bind (5 samlinger). Kjøbenhavn, 1844 - 48.First edition of Hans Christian Andersen's seminal second collection of fairy tales - the publication that made him internationally famous - with all five collections in first issue, also the first, which is of the utmost rarity. It is in this legendary first collection that we find the first printing of ""The Ugly Duckling""(not as is indicated in PMM in his first). The rarity of the first issue of volume 1, collection 1 is legendary. It was published on November 11th 1843 (dated 1844 on the title-page) in a very small number, probably due to the poor sales of Andersen's first fairy tale collection. Against all belief, this first collection sold out within a few days, catapulting Andersen into worldwide fame, and a second issue was published already on December 21st 1843. Thus, only very few copies of the first issue exist, and almost all collections of the ""New fairy Tales"" are bound with the second issue or the third of 1847, meaning that they do not contain the actual first printing of ""The Ugly Duckling"", ""The Nightingale"", ""The Angel"", and ""The Sweethearts"". 2.3. Nye Eventyr og Historier. 3 Series, 10 collections. Kjøbenhavn, 1858-1872.A splendid fully complete copy of Andersen's third fairy tale collection, WITH ALL 10 ISSUES IN FIRST EDITIONS, FIRST ISSUES, ALL IN THE ORIGINAL PRINTED WRAPPERS, AND ONE OF THEM WITH A SIGNED PRESENTATION-INSCRIPTION BY ANDERSEN - WITH 39 FAIRY TALES IN THEIR FIRST PRINTINGS. It is highly uncommon to find all ten issues of the series together, let alone in the original printed wrappers, each of which is a scarcity on their own. To our knowledge, only one other such set exists in a private collection, and that is in far from as fine condition as the present, where all but one of the issues (which does not have the back wrapper) are fully complete with the spines, exactly as issued. 3. Presentation-copies3.1. Digte. Kjöbenhavn, 1830.THE RARE FIRST EDITION - PRESENTATION-COPY, IN THE EXCEEDINGLY SCARCE ORIGINAL PRINTED WRAPPERS - OF ANDERSEN'S THIRD BOOK, CONTAINING HIS FIRST FAIRY TALE. The magnificent presentation-inscription - hitherto unknown and unregistered - is arguably one of the most important Andersen-presentations known to exist. It is inscribed to Henriette Collin, the then fiancée, later wife, of his closest and most important friend, who was more like a brother to him, Edvard Collin. It is one of the very early Andersen-presentations known. This first published collection of Andersen's poetry constitutes Andersen's third published book (at the age of 24) and contains, at the end, the first printing of any of his fairy tales, being also his very first fairy tale ""The Ghost"" (or ""The Spectre""). This is the first time that Andersen uses the term ""Eventyr"" (fairy tale), the term which came to denote the genre for which he received world-wide fame as one of the most important writers of all time. 3.2. Nye Eventyr. Tredie Samling. Kjøbenhavn, 1845.An excellent presentation-copy of the first edition of the third ""collection"" of Andersen's second fairy tale-collection, containing five of his best fairy tales in the first printing - among them the cherished tales ""The Red Shoes"" and ""The Shepherdess and the Chimney-Sweep "". Inscribed copies of Andersen's fairy tales are very rare and extremely sought-after. But the present presentation-copy is even more interesting, as it is inscribed to a fellow author of tales for children - ""The poet Kaalund/ in kind remembrance/ of our first meeting/ the 29th of April 1845/ from the [NEW FAIRY TALES] (the printed half title) 's author."" -in the collection of Andersen's fairy tales that appeared almost simultaneously with Kaalund's renowned ""Tales for Children"" (""Fabler for Børn""). 3.3. Historier. Anden Samling. Kjøbenhavn, 1853.First edition, in splendid condition, with the original printed wrappers, of the second part of Andersen's ""Story""-collection, containing first printings of four of his famous fairy-tales. With a lovely, poetical presentation-inscription to Frederikke Larcher, signed ""H.C. Andersen"", translated as thus: ""I put my bouquet on the board of the stage/ you yourself make the impression of a fresh bouquet"". Frederikke Larcher was a stage actress, and Andersen might have given the little book as a gift upon her last performance.3.4. Nye Eventyr og Historier. Anden Række (første samling). Kjøbenhavn, 1861.An excellent copy, in the original printed, illustrated wrappers, of the separately published first part of the second series of ""Nye Eventyr og Historier"", with a lovely presentation-inscription to the title-page, translating thus ""The splendid, the spirited,/ Mrs. Agentinde Renck/ send this bouquet of stories/ from my garden of poetry this spring/ Most heartfelt and respectfully/ H.C. Andersen."" This splendid volume contains first printings of one of Andersen's most famous, most beloved and most frequently recounted fairy-tales/stories: ""What the Old Man does is Always Right"". Apart from that masterpiece of moral story-telling, the present publication contains five other of Andersen's great stories in first printings.3.5. Da Spanierne var her. Originalt romantisk Lystspil i tre Acter. Kjøbenhavn (Copenhagen), 1865. An excellent copy of the first edition of Andersen's famed play, in the scarce original binding and with a magnificent presentation-inscription to Rudolph Kranold, who at the time was director of the Royal Theatre in Copenhagen. His short reign here (until 1866) coincides exactly with the work on and premiere of one of the plays that was very closest to Andersen's heart, namely ""When the Spanish were Here"", which premiered at the Royal Theatre on April 6, 1865. Reading Andersen's diaries allows us to actually follow the play the entire way through to the stage. It is evident, both from his diaries and from the present presentation-inscription, that the play meant a lot to Andersen. As the inscription indicates, he's anxious that the play not be taken down again and he clearly asks Kranold to take good care of this play that is close to his heart. 4. Letters4.1. Autographed letter, signed in full (""Hans Christian Andersen""), in English, for the Scottish author William Hurton. Dated ""Copenhagen 2 October 1851"".The present letter is of the utmost interest, as it is written in English (in Andersen's own hand!) and also in Latin letters, as opposed the gothic handwriting that Andersen usually uses. Letters and inscriptions in Andersen's Latin hand are of the utmost scarcity. Out of the few known letters in Andersen's hand, we have even fewer letters by him written in English. He made an exception for William Hurton, to whom a few letters have been preserved, demonstrating his reverence for this Scottishman so fascinated by Andersen himself. Almost all of these letters are in institutional holdings, and the present one on private hands is a true scarcity. 4.2. Autographed letter, signed ""H. C. Andersen"", for Frederik Bøgh. Dated ""Basnæs ved Skjelskjør/ den 3 Juli 1862"". 4 pages.This very lengthy letter from Andersen to Frederik Bøgh is interesting in several respects. First of all, Andersen here mentions several of his works: new songs for the revised version of his opera ""The Raven"", proofreading and numerous comments for the ""new edition of Fairy Tales and Stories"", and a brand new fairy tale: ""Finally, I have written a new fairy tale: ""Snowdrop""."" Furthermore, Andersen talks about his health and problems he has with his eye as well as the weather and his impending travel plans. It is clear from the letter that he is very close to his young student friend Bøgh. 4.3. Autographed letter, signed ""H. C. Andersen"", for Frederik Bøgh. Dated ""Tanger I Marokko/ den 8 Nov: 1862."".An absolutely splendid letter with rare observations about Moroccan culture, the people, how they dress and behave, the food, the landscape, etc. It is clear that Tanger, with its ""wild, romantic nature"", its palm trees, its wilderness, the wild boars and hyenas, is very far from the coldness of the North. Andersen's fascination with the ""half naked men"" and women in horrible dress, with the bare headed Moorish Jews in kaftans, ""the naked brown kids that screamed and roared"", and the slaves that carry goods, leaps from the pages of the letter and paint a picture of a place that to a Dane in 1862 must seem oddly fascinating and so different. There is no doubt that this rich culture served as direct inspiration for Andersen's story-writing. 4.4. Autographed letter, signed ""H. C. Andersen"", for Frederik Bøgh. Dated ""Toledo den 6 December 1862"".A splendid letter from Toledo, which Andersen paints so clearly as only he can. ""Toledo is a dead city, but with the life of poetry"", he writes, after having described in detail, to his dear friend back home, the ruins and the melancholy that is Toledo. 4.5. Autographed letter, signed ""H. C. Andersen"", for ""Kjære William"" (i.e. William Melchior). Dated "" Frijsenborg den 27 August/ 1868. "". A lovely, cheerful birthday letter for the young birthday boy William Melchior, who was turning 7 years old. The letter is utterly charming and describes the journey of the birthday letter itself, flying over land and sea, from Jutland to Copenhagen. The letter not only portrays the ease with which Andersen communicates with children, it also constitutes a miniature version of beloved Andersen-stories such as ""Little Tuk"" and ""A Piece of Pearl String"". 4.6. Autographed letter, signed ""H. C. Andersen"", for Frederik Bøgh. Dated "" den 9 Maj 1873"".This Beautiful little letter for Nicolai Bøgh bears witness to the heartfelt bond that Andersen felt towards his young friend. This little gem of a letter is very poetical - most of it is almost like a poem, describing the sun coming through the clouds and liking the clouds to snow and the heaven to Paradise. Furthermore, Andersen mentions his friends' illness, liking him to a bird that needs to be free. Bøgh had fallen ill the previous year, from an illness that would eventually kill him 9 years later, at the mere age of 45. 5. Manuscript5.1. Original handwritten and signed manuscript for a poem entitled ""Stormfloden"" (i.e. The Storm or The Storm Surge). November (22nd), 1872. 1 1/2 handwritten pp.Original manuscripts by Andersen are of the utmost scarcity, and only very few are known on private hands. The present is the manuscript for a poem that Andersen wrote just a couple of years before he died and which was published as the preface to a ""Christmas Present"" by Vilhelm Gregersen in December 1872, just a few weeks after Andersen wrote it. The poem is very dramatic and doomsday-like, but has an uplifting an upbuilding ending. It is inspired by the dramatic storm or storm surge that hit Copenhagen on November 13th, 1872.6. Books from Andersen's Library6.1. F. ANDERSEN, C.J. HANSEN, J.P.E. HARTMANN, P. HEISE and A. WINDING. Ni Fleerstemmige Mandssange. Udgivne af Foreningen ""Fremtiden"". Kjöbenhavn, 1866.Hans Christian Andersen's own copy, with his ownership signature to the bottom of the front wrapper, of this pamphlet of ""Nine Polyphonic Male Songs"". The pamphlet contains nine lovely songs written by the greatest Danish authors of the period, set to music by the most famous Danish musicians of the period. Andersen's contribution is the song ""Hun har mig glemt"" (She Has me Forgotten), which he had printed for the first time in 1854, but in a different version, with different wording. Here, it is set to music by F. Andersen. 6.2. G.h. [GEORG EMIL BETZONICH]. En Kjærligheds-Historie. Fortælling. Kjøbenhavn, 1862.A truly rare example of a book that has belonged to Andersen, with a long presentation-inscription from the author to Hans Christian Andersen to front free end-paper, dated on Andersen's 58th birthday. The author of the novel Georg Emil Betzonich (1829 - 1901) is not a famous author today, nor was he very famous at the time. It is interesting, however, that Andersen kept his book in his library. The book passed to Edvard Collin, who inherited Andersen's entire estate, when Andersen died in 1875, and also Collin kept it. It was sold at the auction of his belongings in 1886.7. The three main Translations7.1. Jugendleben und Träume eines Italienischen Dichters. Nacch H.C. Andersens Dänischen Original: Improvisatoren. Ins Deutsche übertragen von L. Kruse. 2 Theile. Hamburg, August Campe, 1835.The very rare first edition of the first German translation of Andersen's first novel, ""Improvisatoren"", being the first of Andersen's books to be translated into any foreign language. It is fair to say that no other translation before or after was as important to Andersen as the present. Before the work even appeared, Andersen had a list of recipients for the German translation. Among these was Adalbert Chamisso, to whom he wrote in April 1835: ""Here I send you my Italian son" he speaks the German language, so your family can also understand him. I wish that in the great Germany people will be aware of my book and that I may deserve that awareness. That Kruse is introducing me as an author of novels should be somewhat of a recommendation"… For making such an effort of being known outside of little Denmark, I think, I cannot be blamed."" 7.2. Danish Fairy Legends and Tales. (Translated by Caroline Peachey). London, William Pickering (Chiswick), 1846.The very rare first edition - ANDERSEN'S CLOSE FRIEND HENRIETTE SCAVENIUS' (BORN MOLTKE) COPY - of this highly important Andersen-translation, which contains the very first appearance in English of some of Andersen's most famous and beloved fairy tales: ""The Emperor's New Clothes, ""The Nightingale"", ""The Wild Swans"", ""The Buck-Wheat"" and ""The Dustman"", and for the first time we here find the titles ""The Ugly Duckling"" (previously called ""The Ugly Duck"") and ""The Real Princess"" (previously called ""The Princess and the Peas"").7.3. Contes pour les enfants. Traduit du Danois par V. Caralp. Illustrations à deux teintes par Derancourt. Paris, Morizot, (1848).Extremely scarce first edition of the first translations of any of Hans Christian Andersen's fairy tales to appear in French. This first French Andersen-collection constitutes the introduction of Hans Christian Andersen's works in French literature, the introduction of the fairy-tale-genre in France, and a cornerstone in the history French children's literature.
