50000 books for « le the »Edit

‎The new pocket dictionary of the French and English languages. Nouveau dictionnaire portatif des langues française et anglaise.‎

‎Paris, Bossange, Masson et Besson, 1805, 10 X 14 cm., relié, XXXIX-456 pages. Revu par J. S. Charrier. Nouvelle édition, corrigée et augmentée d'après les dictionnaires français et anglais les plus estimés, par N.-M. Chompré. En début d'ouvrage se trouvent conjugaison et grammaire. Plein veau flammé à dos lisse orné, toutes tranches teintées. Pièce de titre difficilement lisible, petites épidermures, intérieur propre.‎

‎Adventures of Captain Bonneville, or scenes beyond the Rocky Mountains of the Far West.‎

‎Paris, Baudry 1837, 13 X 21 cm., relié, 303 pp. Demi-chagrin à nerfs, dos orné d'encadrements dorés. Bel exemplaire hormis des rousseurs.‎

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‎Benjamin de BONNEVILLE était un officier français servant dans l'armée américaine, explorateur de l'ouest américain. ‎

‎Short notice descriptive of the exhibit of the company. Palais du génie civil et des moyens de transports. Groupe VI - Classe 28.‎

‎ 1900, 23 X 16 cm., broché, 10 pp. + 11 feuillets non chiffrés. Fascicule édité à l'occasion de l'Exposition Internationale de 1900. Contient 10 pages de texte en anglais expliquant l'origine et l'avancement du projet, ainsi que 10 illustrations hors-texte. Petite déchirure réparée sur la marge supérieure de la couverture recto, coin supérieur de l'ouvrage plissé. Traces sur les couvertures, intérieur propre.‎

‎Agenda du thé.‎

‎Paris, Editions du chêne, sans date, 20 X 20 cm., relié, non paginé. Charmant agenda perpétuel joliment illustré en noir et couleurs sur le thème du thé. Conception graphique et réalisation Isy OCHOA. Reliure éditeur aux plats illustrés en couleurs. On y joint une carte avec mention manuscrite d'une collaboratrice de l'éditeur. En bon état.‎

‎The observer's book of ships.‎

‎London & New York, Frederick Warne, sans date, 9 X 14 cm., relié, 191 pp. Foreword by W.J. BASSETT-LOWKE. Describing over one hundred types with numerous line drawings and 16 colour plates by the author and 16 plates of photographs. Pleine toile éditeur au dos insolé, intérieur bien frais.‎

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‎Le thé des Romanech. Le sang des Fabre.‎

‎Paris, Éditions Jean-Renard, 1943, 12 X 19 cm., broché, 221 pages. Édition originale avec une dédicace de l'auteur au journaliste Étienne Ronchon. Petite déchirure à la pliure et petit manque en bas du dos. Intérieur propre.‎

‎Maryse Choisy (1903-1979) fut journaliste. "Passionnée de psychanalyse, elle a l'idée d'en introduire les concepts dans ses romans pour donner plus de densité à leurs personnages." (source Babelio) ‎

‎The story without an end. Little tales for little heads and little hearts.‎

‎Paris, Baudry's European Library, 1837, 9 X 14 cm., relié, 170 pages. Demi-veau à dos plat comportant les marques de l'âge. Deux noms écrits à la plume sur une garde, des rousseurs inégales. Rare dans cette édition.‎

‎Une des premières édtions de ce classique pour enfants de l'Angleterre victorienne. ‎

‎The forest of Arden.‎

‎London, Harrap, 1915, 17 X 26 cm., relié, 213 pp. Pleine basane fauve marbrée avec un arbre en décor sur le dos, tête dorée. Mors fendus, épidermures, coiffe de tête manquante. Illustrations hors-texte en noir et couleurs, une carte de la forêt des Ardennes. Beau papier avec rousseurs éparses liées aux illustrations et rares traces d'humidité.‎

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‎Överdadets konst The Art of Extravagance. Kostymer fran Diaghilews Ryska Baletten i Paris.‎

‎ 1996, 22 X 26 cm., broché, 183 pp. Catalogue très documenté sur l'exposition au Dansmuseet Stockholm. Abondantes illustrations en noir et couleurs. En très bon état.‎

‎Paris, la ville et ses projets. A city in the making.‎

‎Paris, Editions Babylone, 1988, 18 X 30 cm., broché, 229 pp. Ouvrage publié à l'occasion de l'exposition permanente "Paris, la ville et ses projets" inaugurée le 13 décembre 1988 au Pavillon de l'Arsenal. Belles photos en noir et couleurs, textes en français et anglais. Quelques frottement sur les couvertures, sinon en bon état.‎

‎Biographical dictionary. Who's who in the Arab world. 1984 - 1985.‎

‎Beirut, Publitec Publications, 20 X 25 cm., relié, 1208 pp. En très bon état.‎

‎Historia Coelestis. (on verso of title-page:) Ex libris commentariis manu-scriptis observationum vicennalium. 2 Parts. - [THE FIRST AND ONLY EDITION OF BRAHE'S OBSERVATIONS - THE BASIS FOR THE RUDOLPHINE TABLES]‎

‎(Augsburg, Simon Utzschneider, 1666). Folio. Both parts bound together in one contemporary full vellum binding with gilt leather title-label to spine. Green silk ties. A bit of discolouration to spine and title-label worn, but otherwise remarkably fine. Square corners, no bumping or tearing, and completely tight. Internally extraordinarily well kept, seemingly unread. The leaves are completely white, fresh, and crisp. Armorial book plate to inside of front board and the ownership signature of Otto Friedrich von Buchwald. 20th century machine-written bookseller's description lightly pasted in between front end-papers. Small armorial stamp to top of title-page. Two xylographic title-pages, engraved portrait of Brahe with his sextant, double-page engraved frontispiece depicting the four emperors with terrestrial and celestial globes, and one plate engraved plate depicting Brahe's observatory at Hven (after p. CVIII). (6) ff. + CXXIV pp. + pp (1)-544 + (2 ff., after the second xylographic title) + pp. 547-912 + (2 ff.) + pp. 913-977 + (1 p., i.e. colophon). Fully complete, though no blank at the end. With numerous magnificent woodcut figures and illustrations in the text, many of them large. ‎

‎Exceedingly scarce first - and only complete - edition of Brahe's groundbreaking astronomical observations. These are the observations that formed the basis for Kepler's Rudolphine tables (1627) and the observations that lie at the heart of both Brahe's and Kepler's astronomical breakthroughs. On his deathbed (1601), Brahe had urged Kepler to publish the vast observations as soon as possible, but this seminal collection of immense importance to the future of astronomy remained unpublished, until the Jesuit Albert Curtz edited them and had them published, as they are here, in 1666. 68 pages of the observations were published later, in Paris ca 1680, but apart from that torso, this is the only edition of Brahe's vast observations to have been published. Brahe’s observations that are published here on their own for the first time and form the basis for the Rudolphine Tables constitute the first modern – and by far the most important – attempt at making a complete catalogue of astronomical observations. These observations were of fundamental importance to establishing the movement of the planets, including whether the sun or Earth is at the centre of the solar system. The observations presented in this extraordinary work go as far back as 721 and contain the incredibly vast observational data that Brahe and his assistants gathered with the aid of his seminal instruments. Brahe’s instruments were of monumental importance to the beginning of modern empirical science and crucial to the new astronomy, observing the stars and the planets with a hitherto impossible accuracy. “The instruments of Tycho Brahe represent a major achievement in astronomical science, because they provided much more accurate readings than previously possible, and on the basis of Tycho Brahe's observations Kepler determined the laws of planetary motions and from these laws Newton discovered the law of gravity. Not until the invention of the telescope some years after Tycho Brahe's death was it possible to get more accurate readings.” (From the Brahe exhibition at the Royal Library of Denmark). Although the idea of a “star catalogue” was by no means new, Brahe’s star accurate observations presented a completely novel basis for the understanding of the heavens. “The Rudolphine Tables”, named for Rudolf II, Holy Roman emperor and patron of Kepler and Tycho, published by Kepler in 1627 are based principally upon these observations by Brahe and is by far the best and most important of the pretelescopic catalogues. It is accurate to a few minutes of arc and contains positions for 1,005 stars (increased by Kepler from Tycho’s 777) and tables and directions for locating the planets. ”Hipparchus completed the first known catalog in 129 BCE, giving the celestial longitudes and latitudes of about 850 stars. This work was enlarged and improved by Ptolemy, the Alexandrian astronomer and mathematician, in his Almagest (c. 140 CE). At Samarkand (now in Uzbekistan), Ulugh Beg (1394–1499), grandson of Timur (Tamerlane), working in his own observatory in the years 1420–37, compiled a catalog that became known in Europe in the 1500s and was printed there in 1665. The last and finest catalog of the pretelescope era was made by the skilled Danish observer Tycho Brahe (1546–1601). It was included in expanded form in the Rudolphine Tables of the mathematical astronomer Johannes Kepler. Tycho’s catalog was the first in which Greek letters were assigned to stars to indicate their relative brightnesses within each constellation.” (Encycl. Britt.) In short, the importance of Brahe’s observations to astronomy and our knowledge of the heavens can hardly be exaggerated. “Copernicus had largely based his work on a body of existing observations of the heavens. Although he did some observational work, the bulk of his contribution was focused on re-evaluating existing data from a different perspective. However, Tycho Brahe had a different approach. Born in 1546, (three years after the publication of Copernicus' “De Revolutionibus”) Brahe became a famous astronomer, well known for his unprecedented collection of astronomical data. Brahe's contributions to astronomy had revolutionary impacts in their own right. In 1563, at age 16, he observed Jupiter overtaking Saturn as the planets moved past each other. Even with his simple observations he saw that existing tables for predicting this conjunction were off by a month, and even Copernicus's model was off by two days. In his work, he demonstrated that better data could help to create much more robust models. In November of 1572 Brahe observed a new star in the constellation of Cassiopeia. With a sextant and cross-staff he was able to measure the star's position and became convinced that it was in the realm of the supposed unmoving fixed stars. This observation was inconsistent with the longstanding belief that the celestial realm was a place of perfect and unchanging fixed stars. Alongside this development, the appearance of a comet in 1577 provided additional evidence that things did change and did move in the celestial sphere. Based on careful measurements, Brahe was able to identify that the comet was outside the sphere of the moon and he eventually suggested it was moving through the spheres of different planets. As a result of these observations, Brahe put forward a new model for the cosmos. In Brahe's model, all of the planets orbited the sun, and the sun and the moon orbited the Earth. Keeping with his observations of the new star and the comet, his model allowed the path of the planet Mars to cross through the path of the sun. Many scientists have been critical of Brahe's model as a backward step in the progress of science. However, it is critical to remember the value that Brahe's system offered. This system had the advantage of resolving the problem of stellar parallax. One of the persistent critiques of Copernicus's model (and even of Aristarchus model in ancient Greece) was that with a moving Earth one should expect to see parallax movement of the stars. As the Earth changes position in relationship to that of the stars, one would expect to see the stars change position relative to each other. Copernicus' answer was that the stars had to be so distant that it wasn't possible to detect parallax. Still, the distance required to make this work was so massive as to be a problem for the system. This was not a problem for Brahe's system because his model allowed for the circles in the heavens to intersect. Brahe's model was not a step backward but revolutionary in the sense that it was a competing way to make sense of the data the heavens provided. Johannes Kepler, born in 1571, made major contributions to astronomy as his work mixed sophisticated mathematics and astronomy with mystical ideas about astrology... Kepler worked for Tycho Brahe, publishing an extensive amount of Brahe's data in “Rudolphine Tables”. Although he used much of that data for his own publications Kepler's work would significantly depart from Brahe's. … Using Tycho Brahe's observational data, Kepler was able to fine tune the movements of the planets and demonstrate that the movement of Mars could be described as an ellipse. … Kepler's work foreshadowed the discovery of one of the fundamental forces of physics, the law of gravity.” (Library of Congress: Finding our Place in the Cosmos with Carl Sagan). ‎

‎The Civil War in France. Address of the General Council of the International Working-Men's Association. - [MARX' SEMINAL DEFENSE OF THE PARIS COMMUNE]‎

‎High Holborn, for the Council by Edward Truelove, 1871. Small 8vo. Near contemporary quarter cloth with silver lettering to front board. Binding with signs of use, but overall good. One closed marginal tear and title-page with a few brownspots, otherwise very nice and clean. 35 pp.‎

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‎Exceedingly rare first edition (with the names of Lucraft and Odger still present under ""The General Council"") of one of Marx' most important works, his seminal defense of the Paris Commune and exposition of the struggle of the Communards, written for all proletarians of the world. While living in London, Marx had joined the International Working Men's Association in 1864 - ""a society founded largely by members of Britain's growing trade unions and designed to foster international working class solidarity and mutual assistance. Marx accepted the International's invitation to represent Germany and became the most active member of its governing General Council, which met every Tuesday evening, first at 18 Greek Street in Soho and later in Holborn. In this role, Marx had his first sustained contact with the British working class and wrote some of his most memorable works, notably ""The Civil War in France"". A polemical response to the destruction of the Paris Commune by the French government in 1871, it brought Marx notoriety in London as 'the red terror doctor', a reputation that helped ensure the rejection of his application for British citizenship several years later. Despite his considerable influence within the International, it was never ideologically homogenous... (homas C. Jones: ""Karl Marx' London"").The work was highly controversial, but extremely influential. Even though most of the Council members of the International sanctioned the Address, it caused a rift internally, and some of the English members of the General Council were enraged to be seen to endorse it. Thus, for the second printing of the work, the names of Lucraft and Odger, who had now withdrawn from the Council, were removed from the list of members of ""The General Council"" at the end of the pamphlet. ""[Marx] defended the Commune in a bitterly eloquent pamphlet, ""The Civil War in France"", whose immediate effect was further to identify the International with the Commune, by then in such wide disrepute that some of the English members of the General Council refused to endorse it."" (Saul K. Padover, preface to Vol. II of the Karl Marx Library, pp. XLVII-XLVIII).""Written by Karl Marx as an address to the General Council of the International, with the aim of distributing to workers of all countries a clear understanding of the character and world-wide significance of the heroic struggle of the Communards and their historical experience to learn from. The book was widely circulated by 1872 it was translated into several languages and published throughout Europe and the United States."" (The Karl Marx Archive)Marx concluded ""The Civil War in France"" with these impassioned words, which were to resound with workers all over the world: ""Working men's Paris, with its Commune, will be forever celebrated as the glorious harbinger of a new society. Its martyrs are enshrined in the great heart of the working class. Its exterminators history has already nailed to that eternal pillory from which all the prayers of their priests will not avail to redeem them.""The address, which was delivered on May 30, 1871, two days after the defeat of the Paris Commune, was to have an astounding effect on working men all over the world and on the organization of power of the proletarians. It appeared in three editions in 1871, was almost immediately translated into numerous languages and is now considered one of the most important works that Marx ever wrote. "" ""The Civil War in France"", one of Marx's most important works, was written as an address by the General Council of the International to all Association members in Europe and the United States.From the earliest days of the Paris Commune Marx made a point of collecting and studying all available information about its activities. He made clippings from all available French, English and German newspapers of the time. Newspapers from Paris reached London with great difficulty. Marx had at his disposal only individual issues of Paris newspapers that supported the Commune. He had to use English and French bourgeois newspapers published in London, including ones of Bonapartist leanings, but succeeded in giving an objective picture of the developments in Paris. ...Marx also drew valuable information from the letters of active participants and prominent figures of the Paris Commune, such as Leo Frankel, Eugene Varlin, Auguste Serraillier, Yelisaveta Tornanovskaya, as well as from the letters of Paul Lafargue, Pyotr Lavrov and others.Originally he intended to write an address to the workers of Paris, as he declared at the meeting of the General Council on March 28, 1871. His motion was unanimously approved. The further developments in Paris led him, however, to the conclusion that an appeal should be addressed to proletarians of the world. At the General Council meeting on April 18, Marx suggested to issue ""an address to the International generally about the general tendency of the struggle."" Marx was entrusted with drafting the address. He started his work after April 18 and continued throughout May. Originally he wrote the First and Second drafts of ""The Civil War in France"" as preparatory variants for the work, and then set about making up the final text of the address.He did most of the work on the First and Second drafts and the final version roughly between May 6 and 30. On May 30, 1871, two days after the last barricade had fallen in Paris, the General Council unanimously approved the text of ""The Civil War in France"", which Marx had read out.""The Civil War in France"" was first published in London on about June 13, 1871 in English, as a pamphlet of 35 pages in 1,000 copies. Since the first edition quickly sold out, the second English edition of 2,000 copies was published at a lower price, for sale to workers. In this edition [i.e., MECW], Marx corrected some of the misprints occurring in the first edition, and the section ""Notes"" was supplemented with another document. Changes were made in the list of General Council members who signed the Address: the names of Lucraft and Odger were deleted, as they had expressed disagreement with the Address in the bourgeois press and had withdrawn from the General Council, and the names of the new members of the General Council were added. In August 1871, the third English edition of ""The Civil War in France"" came out, in which Marx eliminated the inaccuracies of the previous editions.In 1871-72, ""The Civil War"" in France was translated into French, German, Russian, Italian, Spanish, Dutch, Flemish, Serbo-Croat, Danish and Polish, and published in the periodical press and as separate pamphlets in various European countries and the USA. It was repeatedly published in subsequent years....In 1891, when preparing a jubilee German edition of ""The Civil War in France"" to mark the 20th anniversary of the Paris Commune, Engels once again edited the text of his translation. He also wrote an introduction to this edition, emphasising the historical significance of the experience of the Paris Commune, and its theoretical generalisation by Marx in ""The Civil War in France"", and also giving additional information on the activities of the Communards from among the Blanquists and Proudhonists. Engels included in this edition the First and Second addresses of the General Council of the International Working Men's Association on the Franco-Prussian war, which were published in subsequent editions in different languages also together with ""The Civil War France"". (Notes on the Publication of ""The Civil War in France"" from MECW Volume 22). Only very few copies of the book from 1871 on OCLC are not explicitly stated to be 2nd or 3rd editions, and we have not been able to find a single copy for sale at auctions within the last 50 years. ‎

‎De aureo Cornu. Dissertatio. - [THE FIRST AND MOST IMPORTANT TREATISE ON THE GOLDEN HORN]‎

‎Hafniae (Copenhagen), Melchior Matzan, Joachim Moltke, 1641. Small folio. Bound in an newer absolutely exquisite full mottled calf pastiche-binding with five raised bands and gilt title-label to richly gilt spine. Gilt ornamental borders with gilt corner-pieces to boards, all edges of boards gilt, and inner gilt dentelles. Title-page restored at inner hinge, far from affecting print. Some leaves slighly dusty and some mostly light brownspotting. Overall very nice indeed. The folded plate neatly re-enforced at the foldings, from verso, and on stub. ""Dupl"" written in hand to upper right corner of title-page and with two stamps to verso: ""Museum Britannicum"" and ""British Museum Sale Duplicate 1787"". (8), 72 pp. + large folded engraved plate of the horn. ‎

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‎Exceedingly scarce first printing of one of the most important works in Scandinavian history. Worm’s monumental 1641-treatise is the first and single most important work on what is arguably the most famous Danish cultural artifact, namely the first Golden Horn, and constitutes our primary source of knowledge of that now lost treasure. 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. Although the first was by far the most important, both findings are now a fundamental part of Danish cultural heritage. In 1802 the horns were stolen, and the story of this theft became 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 mistook 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. 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 the ones lost in the ship wreck, however, and as mentioned 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 earrings that are still preserved are thought to have been made with gold from the horns, but this is all that we have now have 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. The plate in the present work constitutes our main source of knowledge of the appearance of the first horn and is the single most important depiction of it, forming the basis of the reproductions. ""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"" [1643]). 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 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 a 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). This monument of Danish cultural history is incredibly scarce in the trade. We have never seen a copy before, and there is not a single auction record traceable. ‎

‎Systeme de la Nature ou Des Loix du Monde Physique & du Monde Moral. 2 vols. - [""MAN IS OF ALL BEINGS THE MOST NECESSARY TO MAN""]‎

‎London, 1774. 8vo. 2 volumes uniformly bound in contemporary half calf with gilt ornamentation to spine. Spines with wear of boards miscoloured. Internally fine and clean. (16) 397 pp."" (4), 500, (3) pp. Wanting the frontispiece.‎

‎Later edition, published four years after the original, comprising ""The System of Nature"" - one of the most important works of natural philosophy ever written and the work that is considered the main work of materialism - and ""The Social System"", being d'Holbach's seminal ""social"" and political continuation of that groundbreaking work. D'Holbach (1723-1789), who was raised by a wealthy uncle, whom he inherited, together with his title of Baron, in 1753, maintained one of the most famous salons in Paris. This salon became the social and intellectual centre for the Encyclopédie, which was edited by Diderot and d'Alembert, whom he became closely connected with. D'Holbach himself also contributed decisively to the Encyclopédie, with at least 400 signed contributions, and probably as many unsigned, between 1752 and 1765. The ""Côterie holbachique"" or ""the café of Europe"", as the salon was known, attracted the most brilliant scientists, philosophers, writers and artists of the time (e.g. Diderot, d'Alembert, Helvetius, Voltaire, Hume, Sterne etc, etc.), and it became one of the most important gathering-places for the exchange of philosophical, scientific and political views under the ""ancient régime"". Apart from developing several foundational theories of seminal scientific and philosophical value, D'Holbach became known as one of the most skilled propagators and popularizers of scientific and philosophical ideas, promoting scientific progress and spreading philosophical ideas in a new and highly effective manner. As the theories of d'Holbach's two systematic works were at least as anticlerical and unaccepted as those of his smaller tracts, and on top of that so well presented and so convincing, it would have been dangerous for him to print any of them under his own name, and even under the name of the city or printer. Thus, ""Systême de la Nature"" appeared pseudonomously under the name of the secretary of the Académie Francaise, J.B. Mirabaud, who had died 10 years earlier, and under a fictive place of printing, namely London instead of Amsterdam. ""He could not publish safely under his own name, but had the ingenious idea of using the names of recently dead French authors. Thus, in 1770, his most famous book, ""The System of Nature"", appeared under the name Jean-Baptiste Mirabaud"" (PMM 215), and so the next ""System"" also appeared in the same manner three years later. D'Holbach was himself the most audacious philosophe of this circle. During the 1760's he caused numerous anticlerical tracts (written in large, but not entirely, by himself) to be clandestinely printed abroad and illegally circulated in France. His philosophical masterpiece, the ""Système de la nature, ou des lois du monde physique et du monde moral"", a methodological and intransigent affirmation of materialism and atheism, appeared anonymously in 1770"" (D.S.B. VI:468), as did the social and political follow-up of it, the famous ""Systême social"" in 1773. That is to say, Mirabeau whom he had used as the author on the ""System of Nature"" in 1770 is not mentioned in the ""Social System"", on the title-page of which is merely stated ""By the Author of ""Systême de la Nature"". In his main work, the monumental ""Système de la Nature"", d'Holbach presented that which was to become one of the most influential philosophical theories of the time, combined with and based on a complex of advanced scientific thought. He postulated materialism, and that on the basis of science and empiricism, on the basis of his elaborate picture of the universe as a self-created and self-creating entity that is constituted by material elements that each possess specific energies. He concludes, on the basis of empiricism and the positive truths that the science of his time had attained, that ideas such as God, immortality, creation etc. must be either contradictory or futile, and as such, his materialism naturally also propounded atheism"" his theory of the universe showed that nature is the product of matter (eternally in motion and arranged in accordance with mechanical laws), and that reality is nothing but nature. Thus, having in his ""Systême de la Nature"" presented philosophical materialism in an actual system for the first time and having created a work that dared unite the essence of all the essential material of the English and French Enlightenment and incorporate it into a closed materialistic system, d'Holbach had provided the modern world with a moral and ethic philosophy, the effects of which were tremendous. It is this materialism and atheism that he continues three years later in his next systematic work ""Systême social"", through which politics, morality, and sociology are also incorporated into his system and take the place of the Christianity that he had so fiercely attacked earlier on. In this great work he extends his ethical views to the state and continues the description of human interest from ""Systême de la Nature"" by developing a notion of the just state (by d'Holbach called ""ethocracy"") that is to secure general welfare. ""Système social (1773"" ""Social System"") placed morality and politics in a utilitarian framework wherein duty became prudent self-interest."" (Encyclopaedia Brittanica). ""Holbach's foundational view is that the most valuable thing a person seeking self-preservation can do is to unite with another person: ""Man is of all beings the most necessary to man"" (Sysème social, 76"" cf. Spinoza's Ethics IVP35C1, C2, and S). Society, when it is just, unites for the common purpose of preservation and the securing of welfare, and society contracts with government for this purpose."" (SEP). Both works had a sensational impact. For the first time, philosophical materialism is presented in an actual system, and with the second of them, this system also comprised politics and sociology, a fact which became essential to the influence and spreading of this atheistic scientific-philosophical strand. The effects of the works were tremendous, and the consequences of their success were immeasurable, thus, already in the years of publication, both works were confiscated. The ""Système de la Nature"" was condemned to burning by the Parisian parliament in the year of its publication"" the ""Système social"" was on the list of books to be confiscated already in 1773, and it was placed on the Index of the Church in August 1775. Both works are thus scarce. In spite of their condemnation, and in spite of the reluctance of contemporary writers to acknowledge the works as dangerous (as Goethe said in ""Dichtung und Wahrheit"": ""Wir begriffen nicht, wie ein solches Buch gefährlich sein könnte. Es kam uns so grau, so todtenhaft vor""), the ""Systems"" and d'Holbach's materialism continued its influence on philosophic, political and scientific thought. In fact, it was this materialism that for Marx became the social basis of communism. ""In the ""Système"" Holbach rejected the Cartesian mind-body dualism and attempted to explain all phenomena, physical and mental, in terms of matter in motion. He derived the moral and intellectual faculties from man's sensibility to impressions made by the external world, and saw human actions as entirely determined by pleasure and pain. He continued his direct attack on religion by attempting to show that it derived entirely from habit and custom. But the Systeme was not a negative or destructive book: Holbach rejected religion because he saw it as a wholly harmful influence, and he tried to supply a more desirable alternative. ""(Printing and the Mind of Man, 215). ""In keeping with such a naturalistic conception of tings, d'Holbach outlined an anticreationalist cosmology and a nondiluvian geology. He proposed a transformistic hypothesis regarding the origins of the animal species, including man, and described the successive changes, or new emergences, of organic beings as a function of ecology, that is, of the geological transformation of the earth itself and of its life-sustaining environment. While all this remained admittedly on the level of vague conjecture, the relative originality and long-term promise of such a hypothesis -which had previously been broached only by maillet, Maupertuis, and Diderot- were of genuine importance to the history of science. Furthermore, inasmuch as the principles of d'Holbach's mechanistic philosophy ruled out any fundamental distinction between living an nonliving aggregates of matter, his biology took basic issue with both the animism and the vitalism current among his contemporaries...This closely knit scheme of theories and hypotheses served not merely to liberate eighteenth-century science from various theological and metaphysical empediments, but it also anticipated several of the major directions in which more than one science was later to evolve. Notwithstanding suchprecursors as Hobbes, La Mttrie, and Diderot, d'Holbach was perhaps the first to argue unequivocally and uncompromisingly that the only philosophical attitude consistent with modern science must be at once naturalistic and antisupernatural."" (D.S.B. VI:469).‎

‎Untersuchung der Natur und Ursachen von Nationalreichthümern, Aus dem Englischen. 2 Bände. - [THE SEMINAL FIRST TRANSLATION OF 'WEALTH OF NATIONS']‎

‎Leipzig, Weidmann, 1776-78. 8vo. Bound in two nice uniform contemporary half calf bindings with five raised bands and gilt lettering to spine. Ex-libris pasted on to pasted down front free end-papers and a small embossed stamp to front free end paper on volume 1 (""Buchhändler u. Antiquar Carl Helf""). Stamp to p. 1 of both volumes. Spines with light soiling and capital on volume 1 lacking a small part of the leather. A few light brown spots throught. A fine set. VIII, 632 pp"" XII, 740 pp.‎

‎First German edition, also being the very first overall translation, of Adam Smith's ground-breaking main work, the ""Inquiry into the Nature and Causes of the Wealth of Nations"". This seminal first translation of the work was undertaken by J.F. Schiller, who finished the first part of the translation in time for it to appear as soon as 1776, the same year as the original English edition. The second part appeared in 1778, the same year as the exceedingly scarce first French translation. This first German translation has been of the utmost importance to the spreading of Smith's ideas throughout Europe, and, after the true first, this must count as the most important edition of the work.""The influence of the Wealth of Nations [...] in Germany [...] was so great that 'the whole of political economy might be divided into two parts - before and since Adam Smith"" the first part being a prelude, and the second a sequel."" (Backhouse, Roger E., The Methodology of Economics: Nineteenth-Century British Contributions, Routledge, 1997.)""The first review of the translation, which appeared in the Göttingische gelehrte Anzeigen for March 10, 1777, by J. G. H. Feder, professor of Philosophy at the University of Göttingen, was very favorable. In the words of the reviewer: ""It is a classic"" very estimable both for its thorough, not too limited, often far-sighted political philosophy, and for the numerous, frequently discursive historical notes,"" but the exposition suffers from too much repetition."" (Lai, Cheng-chung. Adam Smith Across Nations: Translations and Receptions of The Wealth of Nations, Clarendon Press, UK, 2000).Until 1797, [...], the work of Adam Smith received scant attention in Germany. While Frederick II was living, Cameralism held undisputed sway in Prussia, and the economic change which began with the outbreak of the French Revolution had still not gained sufficient momentum to awake the economic theorists from their dogmatic slumber."" (Lai, Cheng-chung. Adam Smith Across Nations: Translations and Receptions of The Wealth of Nations, Clarendon Press, UK, 2000).Various German economist read the german translations and was inspired by it.""Christian Garve, [...], must be considered as among the important contributors to the spread of Smith's views. Himself a popularizer of philosophical doctrines, he was early attracted by the Scotch writers and became one of their foremost exponents in Germany."" In 1791 Garve began a second translation of the Smith's work and in the introduction to the the translation he wrote: ""It (Smith's work) attracted me as only few books have in the course of my studies through the number of new views which it gave me not only concerning the actual abject of his investigations, but concerning all related material from the philosophy of civil and social life"". Georg Sartorius, August Ferdinand Lueder and, perhaps the most important economist of the period, Christian Jacob Kraus, were all important figures in the spread of Smith's thought. ""The most significant of Kraus' works and that also which shows his conception of economic science most clearly is the five-volume work entitled State Economy. The first four volumes of this work are little more than a free paraphrase of the Wealth of Nations"". Kraus was: ""to a large extent responsible for the economic changes which took place in Prussia after 1807, in so far as they can be ascribed to Smithan influence."" (Lai, Cheng-chung. Adam Smith Across Nations: Translations and Receptions of The Wealth of Nations, Clarendon Press, UK, 2000).Kraus wrote of the present volume: ""[T]he world has seen no more important book than that of Adam Smith.... [C]ertainly since the times of the New Testament no writing has had more beneficial results than this will have.... [Smith's doctrines form] the only true, great, beautiful, just and beneficial system."" (Fleischacker, Samuel , A Third Concept of Liberty, Princeton University Press, 1999.)_____________Hailed as the ""first and greatest classic of modern thought"" (PMM 221), Adam Smith's tremendously influential main work has had a profound impact on thought and politics, and is considered the main foundation of the era of liberal free trade that dominated the nineteenth century. Adam Smith (1723-1790) is considered the founder of Political Economy in Britain, mainly due to his groundbreaking work, the ""Wealth of Nations"" from 1776. The work took him 12 years to write and was probably in contemplation 12 years before that. It was originally published in two volumes in 4to, and was published later the same year in Dublin in three volumes in 8vo. The book sold well, and the first edition, the number of which is unknown, sold out within six months, which came as a surprise to the publisher, and probably also to Smith himself, partly because the work ""requires much thought and reflection (qualities that do not abound among modern readers) to peruse to any purpose."" (Letter from David Hume, In: Rae, Life of Adam Smith, 1895, p. 286), partly because it was hardly reviewed or noticed by magazines or annuals. In spite of this, it did evoke immense interest in the learned and the political world, and Buckle's words that the work is ""in its ultimate results probably the most important book that has ever been written"", and that it has ""done more towards the happiness of man than has been effected by the united abilities of all the statesmen and legislators of whom history has preserved an authentic account"" (History of Civilisation, 1869, I:214) well describes the opinion of a great part of important thinkers then as well as now. Kress S. 2567Goldsmith 11394Menger 521Not in Einaudi‎

‎Den Danske Krønicke som Saxo Grammaticus screff, hallfierde hundrede Aar forleden: Nu først aff Latinen udsæt, flittelige offuerseet oc forbedret, Aff Anders Søffrinssøn Vedel. - [FIRST DANISH TRANSLATION OF THE NARRATIVE OF HAMLET, PRINCE OF DENMARK]‎

‎Kiøbenhaffn, Hans Støckelman oc Andreas Gutterwitz, 1575. Folio. Bound in a very nice mid 19th century brown half calf with five raised bands and gilt ornamentations to spine. Title-page printed in red and black and with large woodcut, verso with full-page woodcut portrait of King Frederik II. Small repaired cut-out to top of title-page and an old owner's annotation. Neat marginal annotations to some leaves and early annotations to back fly-leaf. Occasional light brownspotting, but overall an unusually well kept and fresh copy, printed on good paper. (36), 547, (33) pp. ‎

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‎The very rare first translation into any language, being the seminal first Danish translation, of the first preserved full history of Denmark - to this day the most important of all Danish historical publications and a main work of European Medieval literature. This magnificent work furthermore contains the first known written narrative of the legend of Hamlet and served as the basis for Shakespeare's play. """"Hamlet"" is based on a Norse legend composed by Saxo Grammaticus in Latin around 1200 AD. The sixteen books that comprise Saxo Grammaticus' ""Gesta Danorum"", or ""History of the Danes"", tell of the rise and fall of the great rulers of Denmark, and the tale of Amleth, Saxo's Hamlet, is recounted in books three and four. In Saxo's version, King Rorik of the Danes places his trust in two brothers, Orvendil and Fengi. The brothers are appointed to rule over Jutland, and Orvendil weds the king's beautiful daughter, Geruth. They have a son, Amleth. But Fengi, lusting after Orvendil's new bride and longing to become the sole ruler of Jutland, kills his brother, marries Geruth, and declares himself king over the land. Amleth is desperately afraid, and feigns madness to keep from getting murdered. He plans revenge against his uncle and becomes the new and rightful king of Jutland."" (""Shakespeare's Sources for ""Hamlet"" "" - Shakespeare-on-line). The patriotic ""Danish Chronicle"" (i.e. Gesta Danorum) by Saxo Grammaticus is without comparison the most ambitious literary production of medieval Denmark and the most important source for the early history of the nation, also being one of the oldest known written documents about the history of Estonia and Latvia. Its sixteen books describe the history of Denmark and the Danes as well as Scandinavian history in general, from prehistory until Saxo's own time (12th century). It offers crucial reflections on European affairs of the High Middle Ages, from a unique Scandinavian perspective, and constitutes a significant supplement to other Western and Southern European sources. Saxo Grammaticus (ab. 1150-1220) was probably a secular clerk or secretary to Absalon, Archbishop of Lund, the great Danish churchman, statesman and warrior. Saxo is remembered today as the author of the first full history of Denmark, in which he modelled himself upon the classical authors (e.g. Virgil, Plato, Cicero) in order to glorify his fatherland. The work dates from the end of the 12th century and was first printed, in Latin, in Paris in 1514 with 16th century re-issues following in 1534 (Basel) and 1576 (Frankfurt). In 1575, the very first translation of the work appeared, that into Danish, which came to play a significant role in the history of both the legends presented in the work and in Danish language and culture. This groundbreaking first printed translation of Saxo's chronicle was prepared by the Danish historian and philologist Anders Sørensen Vedel (1542-1616). Vedel was also the tutor of Tycho Brahe and his companion on Brahe's grand tour of Europe, where the two formed a lasting bond of friendship. Previous attempts had been made at translating Saxo's magnificent work (one by Christiern Pedersen, one by Jon Tursen), but none of them were printed and the manuscripts have also not survived"" Vedel's translation is the only one that was finished and made it to print. Prompted by Absalon, Vedel began his translation in 1570, and it took him five years to finish the task of both translating and rewriting the original Latin text. While working on this grandiose production, he was given the income of a canon at Ribe Cathedral. Vedel's translation is one of tone of the most important Renaissance contributions to Danish literature and to the development of the Danish language. Vedel's work is not merely a translation, but a magnificent rewriting that should be considered a literary masterpiece in its own right. After Vedel's translation, Saxo remained the indispensable classic that overshadowed all other historical works, both as a source to the earliest history of Denmark and the Danes and as a source of the Nordic myths. Vedel's seminal translation predates the first English translation by more than 300 years and remained the only vernacular version of the text for centuries. The work consists of sixteen books that cover the time from the founders of the Danish people (Dan I of Denmark) till Saxo's own time, ending around 1185 (with the submission of Pomerania), when the last part is supposedly written. The work thus covers the entire history of Denmark until Saxo's own time, seen under a somewhat glorified perspective, from heathen times with tales of Odin and the gods of Valhalla to the times of Absalon, who probably directly influenced the sections on the history of his own time, working closely with Saxo himself. The work also contains the first known written narrative of the legend of Hamlet (Amleth, the son who took revenge for his murdered father). It is this narrative of Saxo's, which he based on an oral tale, that forms the basis for Shakespeare's ""Hamlet"", which takes place in Helsinore in Denmark. There is fairly certain evidence that Shakespeare knew Saxo's work on the History of Denmark and thus the legend of Amleth. ""This is the old, Norse folk-tale of Amleth, a literary ancestor of Shakespeare's ""Hamlet"". The Scandinavian legend was recorded in Latin around 1200 by the Danish historian Saxo Grammaticus and first printed in Paris in this beautiful 1514 edition. It is part of the collection of tales known as Gesta Danorum - a partly mythical history of the Danes. Saxo's Amleth story - a summaryKing Rørik of Denmark appoints two brothers, Horwendil and Fengo, as the rulers of Jutland. Horwendil slays the King of Norway, marries King Rørik's daughter Gerutha, and they have a son named Amleth. Consumed by envy of his brother, Fengo murders Horwendil and marries his wife Gerutha. Amleth then feigns madness, clothing himself in rags and spouting nonsense, to shield himself from his uncle's violence. In fact, the name 'Amleth' itself means 'stupid'.Yet Amleth's behaviour attracts suspicion, and the King attempts to trap him into admitting he has plans for revenge. First, a beautiful woman is used to lure him into betraying himself, but she proves loyal to Amleth. Then a spy is planted to eavesdrop on Amleth's conversation with his mother, in which she repents and he confesses his plans for revenge. Amleth detects the spy, kills him in a mad frenzy, throws his mutilated body in a sewer, and leaves it to be eaten by pigs. Fengo then deports Amleth to England with two escorts carrying a letter directing the King there to execute him. Amleth switches the letter with another one, which orders the death of the escorts and asks for the hand of the English Princess in marriage.Returning to Denmark, Amleth arrives disguised, in the midst of his own funeral, burns down the hall and hunts down his sleeping uncle. Because Amleth had wounded himself on his sword, attendants had made it harmless by nailing it to the scabbard (the sheath used to hold it). Amleth swaps this useless sword with Fengo's, succeeds in killing his uncle and next day is hailed as the King....Saxo's account has many of the defining features of Shakespeare's drama: a villain who kills his brother, takes over the throne and then marries his brother's wifea cunning young hero, the King's son, who pretends to be mad to shield himself from his unclethree plots used by the King to uncover the young man's secrets: a young woman, a spy planted in the Queen's bedroom (who is uncovered and killed), and two escorts who take the prince to England (also outwitted and killed)a hero who returns home during a funeral and finally achieves his revenge through an exchange of swords. There are equivalents for Shakespeare's central characters - old and young Hamlet, old and young Fortinbras, Claudius and Gertrude, Polonius, Ophelia, Rosencrantz and Guildenstern. But Saxo has no ghost demanding vengeance, and the identity of the murderous uncle is known from the start. There is no Osric, no gravediggers or play within a play. The legend lacks a Laertes character and the young woman does not go mad or kill herself. Perhaps most crucially, Amleth lacks Hamlet's melancholy disposition and long self-reflexive soliloquies, and he survives after becoming king."" (""Saxo's legend of Amleth in the Gesta Danorum"" - The British Library.mht). ""Saxo Grammaticus, (flourished 12th century-early 13th century), historian whose Gesta Danorum (""Story of the Danes"") is the first important work on the history of Denmark and the first Danish contribution to world literature.Little is known of Saxo's life except that he was a Zealander belonging to a family of warriors and was probably a clerk in the service of Absalon, archbishop of Lund from 1178 to 1201. Saxo is first mentioned in Svend Aggesen's Historia Regum Danicae compendiosa (1185"" ""Short History of the Danish Kings"") as writing the history of Svend Estridsen (d. 1076).The Gesta Danorum was written at the suggestion of Archbishop Absalon: its 16 volumes begin with the legendary King Dan and end with the conquest of Pomerania by Canute IV in 1185. The work is written in a brilliant, ornate Latin. It was his Latin eloquence that early in the 14th century caused Saxo to be called ""Grammaticus."" The first nine books of the Gesta Danorum give an account of about 60 legendary Danish kings. For this part Saxo depended on ancient lays, romantic sagas, and the accounts of Icelanders. His legend of Amleth is thought to be the source of William Shakespeare's Hamlet" his Toke, the archer, the prototype of William Tell. Saxo incorporated also myths of national gods whom tradition claimed as Danish kings, as well as myths of foreign heroes. Three heroic poems are especially noteworthy, translated by Saxo into Latin hexameters. These oldest-known Danish poems are Bjarkemaalet, a battle hymn designed to arouse warlike feelings Ingjaldskvadet, a poem stressing the corruptive danger of luxury upon the old Viking spirit" and Hagbard and Signe, a tragedy of love and family feuds. The last seven books contain Saxo's account of the historical period, but he achieves independent authority only when writing of events close to his own time. His work is noteworthy for its sense of patriotic purpose based on a belief in the unifying influence of the monarchy. By presenting a 2,000-year-long panorama of Danish history, he aimed to show his country's antiquity and traditions. Saxo's work became a source of inspiration to many of the 19th-century Danish Romantic poets."" (Encycl. Britt.) Laur.Nielsen 240. - Thesaurus 190.‎

‎End The Dogma Old Man sapwood Psychanalyse‎

‎ 2005 2005. Michel Tort End The Dogma Old Man (Sapwood Psychanalyse 2005) The description of this item has been automatically translated. If you have any questions please feel free to contact us. in GOOD CONDITION complete and solid without tears or annotations clean interior; some traces of folds on the cover (not much). The discourse on the decline of the father has become commonplace. This diagnosis on the bankruptcy of the paternal function is carried in the name of psychoanalysis which would rule on the attacks on the symbolic functions vital for the human psyche and their current destructuring. The rise of the formidable power of the Mothers would jeopardize the good crossing of the Oedipus. The task of psychoanalysis is rather to interpret this anguished discourse by reversing the terms of the problem. The Father is a historical construction united with the traditional forms of male domination which assures fathers the monopoly of the symbolic function. This patriarchal figure in crisis since the beginning of modernity is on the way to giving way in current democratic societies to new arrangements of parenting relationships. But the end of a father the Father of the Western Patriarchate is the end of a world - not the end of the world. The forms of becoming-subject and the exercise of the functions of the father that participate in it are historical and they are the site of power relations between the sexes. This change of perspective does not go without a critical re-examination of the constructions of Freud and Lacan on the father which are based on submission to a separating potentate. We can then lay the foundations for a positive story of fatherhood by ceasing to embroider nostalgically on the edifying story of a permanent decline. From the anti-paternal youth movement in the mid-twentieth century of which 1968 remains the symbol to the questioning of paternal violence it is a question of identifying the main aspects of the decomposition of the paternal solution its attempts to restore by tinkering with a symbolic order responsible for resisting the liquidation of the old order; but also to discern the invention of new modes of paternity linked to new gender and sex relationships. Biography: Michel Tort is a psychoanalyst professor at the University of Paris-VII. With Éric Fassin and Michel Feher he directs the Sexual Actuality seminar at ENS / Paris-VII. He is notably the author of Cold Desire. Artificial procreation and the crisis of symbolic landmarks La Découverte 1992. Summary: THE FATHER Psychoanalysis and the story of the father The Father: a psychic organization of power THE PATERNAL SOLUTION The Freudian Fathers their oedipes and those of others The father of the Lacanian New Testament Oedipus and the paternal solution THE AVATARS OF THE PATERNAL SOLUTION Decomposition of the father and other arrangements of paternity The anti-paternal movement Construction of the paternal etiology of contemporary family pathologies The recomposition of symbolic orders: the name The father and the illegitimate unconscious of single mothers The effects of divorce on the paternal function THE FATHER IN CURRENT CONTROVERSIES ON THE SEXUAL ORDER Sexes genres feminisms oedipus Sexual violence the father and psychoanalysis The father put to the test of homosexuality. in the case of multiple purchases the shipping costs increase very little (except in the event of a change in shipping method). Perlenbook company Siret n ° 49982801100010. RCS Lure Tgi 499 828 911 N ° GESTION 2007 A 111. Biography: Summary: THE FATHER Psychoanalysis and the story of the father The Father: a psychic organization of power THE PATERNAL SOLUTION The Freudian Fathers their oedipes and those of others The father of the Lacanian New Testament Oedipus and the paternal solution THE AVATARS OF THE PATERNAL SOLUTION The anti-paternal movement The recomposition of symbolic orders: the name The father and the illegitimate unconscious of single mothers The effects of divorce on the paternal function THE FATHER IN CURRENT CONTROVERSIES ON THE SEXUAL ORDER Sexes genres feminisms oedipus Sexual violence the father and psychoanalysis The father put to the test of homosexuality. Perlenbook company Siret n ° 49982801100010. RCS Lure Tgi 499 828 911 N ° GES‎

‎Bon état‎

‎ La Liberté éclairant le Monde. Centième anniversaire de l'Indépendance des États-Unis. Union Franco-Américaine. 1776-1876. - Liberty enlightning the World. Centennial anniversary of United States Independance. French-American Union. 1776-1876. Bartholdi scup.t. Imprimé par JULES CHÉRET, 18, rue Brunel, PARIS, Sur les Pierres de la COMPAGNIE GÉNÉRALE DES CARRIÈRES DE PIERRES LITHOGRAPHIQUES, 3, rue Rossini, PARIS.‎

‎[entre 1875 et 1876]. 685 x 478 mm.‎

‎Exceptionnelle estampe, de toute rareté, figurant La Liberté éclairant le Monde, plus connue sous le nom de Statue de la Liberté, à l'entrée du port de New York. Elle a été lithographiée en deux tons et imprimée par Jules Chéret à Paris, sur les pierres de la Compagnie Générale des Carrières de Pierres Lithographiques, située à Paris. En bas à droite de l'estampe figure la mention Bartholdi scup.t, pour Bartholdi, sculpteur du monument. Cette estampe, lithographiée et imprimée entre 1875 et 1876, est l'une des toutes premières vues projetées de la Statue de la Liberté, quelques années avant qu'elle ne soit construite, érigée et inaugurée en 1886 sur Bedloe's Island (renommée Liberty Island en 1956), face à Long Island, là où débuta la Guerre d'Indépendance le 27 août 1776. Autour du piédestal de la statue, construit par les Américains sur les fondations du Fort Wood, ancien fort reconnaissable à son plan en étoile à 11 branches, construit entre 1806 et 1811, on aperçoit quelques promeneurs et des pêcheurs. Cette vue plongeante nous offre au second plan un large panorama de la ville, avec Manhattan, le fleuve Hudson, l'East River et le quartier de Brooklyn. Le pont de Brooklyn n'est pas visible puisqu'il sera inauguré en 1883. Le port de New York est animé de voiliers et de bateaux à vapeur. Sur la droite, on aperçoit également la pointe de l'île de Governors Island, avec la fortification de Castle Williams. Né le 2 août 1834 dans une famille de notables de Colmar (Haut-Rhin), Frédéric Auguste Bartholdi présenta très tôt des aptitudes certaines pour les arts. Après avoir essayé la peinture et la photographie, c'est vers la sculpture qu'il se tourne, essentiellement monumentale. Après un voyage initiatique en Orient, il travaille sur sa première commande, une statue du Général Rapp, haut personnage de l'Alsace ; inaugurée en 1856 à Colmar, elle contribuera grandement à le faire connaître. Patriote et républicain, Bartholdi est profondément révolté par l'annexion de l'Alsace et de la Lorraine par la Prusse en 1870, suite à la défaite de Sedan. Pour rendre hommage aux belfortains qui ont bravement affronté un terrible siège au cours du conflit, il sculpte le monumental Lion de Belfort en 1879, dont une réplique trône aujourd'hui place Denfert-Rochereau à Paris (Bartholdi, les Bâtisseurs de la Liberté. Exposition de photographies (1876-1886). Musée des Arts et Métiers, 2004-2005). En 1871, Édouard Lefebvre de Laboulaye, président du Comité de l'Union Franco-Américaine, souhaite sceller l'amitié entre la France et les États-Unis, et demande à Bartholdi de réaliser un monument commémoratif de l'Indépendance des États-Unis (1776-1876) qui sera offert par la France aux États-Unis. La construction de la statue débute en 1875 dans les ateliers Monduit et Bechet, situés à Paris. Le sculpteur élabore un premier modèle de son œuvre, d'une taille de 2,11 mètres, à partir duquel les ouvriers opèrent un découpage méthodique des différentes parties de la statue. L'architecte Eugène Viollet-Le-Duc, puis l'ingénieur Gustave Eiffel, participeront au projet. L'installation de la structure métallique et l'assemblage de l'enveloppe de la statue ont lieu en 1886 à New York. À leur arrivée le 25 octobre 1886, les membres de la délégation française entourant Auguste Bartholdi, découvrent, du pont du paquebot Bretagne, une œuvre monumentale de 93 mètres. La statue sera inaugurée le 28 octobre. La Liberté éclairant le monde connut d'emblée un immense succès. Elle restera l'oeuvre majeure du sculpteur Bartholdi, à laquelle il aura consacré quinze années de sa vie. Jules Chéret (1836-1932) est l'affichiste majeur de la Belle Époque. En 1866, il ouvre à Paris une imprimerie qui est la première à proposer des affiches illustrées lithographiées en couleurs. Il répond à la forte demande publicitaire liée à l'apparition de nouveaux produits, à l'évolution des modes de vente et au développement intense de l'industrie du spectacle. Il a ainsi joué un rôle décisif dans l'avènement de la publicité commerciale et culturelle. Inventeur de l’affiche en couleurs et de l'affiche illustrée publicitaire en France, surnommé par ses contemporains « le roi de l’affiche», sa production d’affiches pour les spectacles et la publicité entre le Second Empire et 1900 est considérable. Il a réalisé plus de 1 400 affiches qui ont accompagné l'entrée de la France dans la vie moderne. Parallèlement à sa carrière d'affichiste, il consacra la seconde partie de sa vie à la peinture décorative, et réalisa des œuvres pour ses mécènes mais aussi pour l'Hôtel de Ville de Paris, le musée Grévin, ou encore la préfecture de Nice (Bargiel & Le Men, La Belle Époque de Jules Chéret. De l’affiche au décor. Les Arts Décoratifs, Paris, 2010). Cette estampe, d'une extrême rareté, est absente des collections publiques, françaises comme américaines. Elle manque également à toutes les bibliographies consacrées à Jules Chéret : Maindron, Les Affiches Illustrées (1886-1895), Paris, 1896 ; Beraldi, Les graveurs du XIXe siècle. Guide de l'amateur d'estampes modernes, 1886, Tome IV ; Broido, The Posters of Jules Chéret, Toronto, 1980 ; et enfin la plus récente, Bargiel & Le Men, La Belle Époque de Jules Chéret. De l’affiche au décor. Les Arts Décoratifs, Paris, 2010. Cette dernière bibliographie est la plus complète de toutes. Elle recense les 1430 affiches de Jules Chéret, avec une illustration pour chaque affiche. Elle mentionne une planche intitulée La Liberté éclairant le Monde. Centième anniversaire de l'Indépendance des États-Unis. Union Franco-Américaine. 1776-1876, mais celle-ci est plus petite que notre affiche (59 x 46 cm). C'est l'une des rares à ne pas être illustrée, car l'auteur de la bibliographie n'a pas été en mesure de la localiser. Notre vue est l'une des toutes premières vues projetées de la Statue de la Liberté. On retrouve cette illustration sur l'affiche publicitaire de Jules Chéret annonçant le diorama représentant le monument commémoratif de l'Indépendance des États-Unis d'Amérique, présenté au Palais de l'Industrie sur les Champs-Élysées. Ce diorama avait été réalisé dans le cadre d'une campagne de promotion lancée, dès 1875, par le Comité de l'Union Franco-Américaine, afin de lever des fonds. Le diorama fut présenté une première fois en août 1877 au Palais de l'Industrie (journal quotidien Le Rappel du 28 août 1877), puis une seconde fois aux Tuileries en 1878 (journal quotidien Le Rappel du 3 avril 1878). Un exemplaire de cette affiche publicitaire se trouve au Musée Bartholdi à Colmar ; le musée lui attribue la date de 1874 ; mais si l'on s'en tient à l'article du quotidien Le Rappel, cette date est erronée. Un autre exemplaire de cette affiche annonçant le diorama se trouve à la Bibliothèque Nationale de France, qui la date de 1876, mais la date est ici également erronée. On peut donc penser que notre affiche a été réalisée avant celle annonçant le diorama, plus précisément entre 1875, date de lancement de la campagne pour la levée des fonds, et 1876, date du centenaire. Exemplaire en très bonne condition. Deux petites restaurations anciennes dans les marges gauche et droite, très légères cassures dans la partie haute de l'estampe, petites taches claires au bas du titre anglais. BARTHOLDI (Frédéric Auguste). La Liberté éclairant le Monde. Centième anniversaire de l'Indépendance des États-Unis. Union Franco-Américaine. 1776-1876. - Liberty enlightning the World. Centennial anniversary of United States Independance. French-American Union. 1776-1876. Bartholdi scup.t. Imprimé par JULES CHÉRET, 18, rue Brunel, PARIS, Sur les Pierres de la COMPAGNIE GÉNÉRALE DES CARRIÈRES DE PIERRES LITHOGRAPHIQUES, 3, rue Rossini, PARIS. [between 1875 and 1876]. 685 x 478 mm. 10 000 € Exceptional print, of an extreme rarity, depicting Liberty Enlightening the World, better known as the Statue of Liberty, at the entrance to the port of New York. It was lithographed in two tones and printed by Jules Chéret in Paris, on the stones of the Compagnie Générale des Carrières de Pierres Lithographiques, located in Paris. At the bottom right of the print appears the mention Bartholdi scup.t, for Bartholdi, sculptor of the monument. This print, lithographed and printed between 1875 and 1876, is one of the very first projected views of the Statue of Liberty, a few years before it was built, erected and inaugurated in 1886 on Bedloe's Island (renamed Liberty Island in 1956), facing Long Island, where the War of Independence began on August 27, 1776. Around the pedestal of the statue, built by the Americans on the foundations of Fort Wood, an old fort recognizable by its 11-pointed star plan, built between 1806 and 1811, we can see some walkers and fishermen. This bird's eye view offers us in the background a wide panorama of the city, with Manhattan, the Hudson River, the East River and the district of Brooklyn. The Brooklyn Bridge is not visible since it will be inaugurated in 1883. New York Harbor is bustling with sailboats and steamboats. On the right, we can also see the tip of Governors Island, with the fortification of Castle Williams. Born on August 2, 1834 in a family of notables from Colmar (Haut-Rhin), Frédéric Auguste Bartholdi showed very early some aptitudes for the arts. After trying painting and photography, he turned towards sculpture, essentially monumental. After an initiatory trip to the East, he worked on his first order, a statue of General Rapp, a high figure in Alsace; inaugurated in 1856 in Colmar, it will greatly contribute to making him known. A patriot and republican, Bartholdi was deeply revolted by the annexation of Alsace and Lorraine by Prussia in 1870, following the defeat of Sedan. To pay tribute to the people of Belfort who bravely faced a terrible siege during the conflict, he sculpted the monumental Lion of Belfort in 1879, a smaller replica of which now stands on Place Denfert-Rochereau in Paris (Bartholdi, les bâtisseurs de la Liberté. Exposition de photographies (1876-1886). Musée des Arts et Métiers, 2004-2005). In 1871, Édouard Lefebvre de Laboulaye, president of the Committee of the Franco-American Union, willing to seal the friendship between France and the United States, asked Bartholdi to work on a monument commemorating the Independence of the United States ( 1776-1876) which will be offered by France to the United States. Construction of the statue began in 1875 in the Monduit and Bechet workshops, located in Paris. The sculptor developed a first model of his work, measuring 2.11 meters, from which the workers carried out a methodical cutting of the different parts of the statue. The architect Eugène Viollet-Le-Duc, then the engineer Gustave Eiffel, will take part in the project. The installation of the metal structure and the assembly of the shell of the statue took place in 1886 in New York. Upon their arrival on October 25, 1886, the members of the French delegation surrounding Auguste Bartholdi, discovered, from the deck of the liner Bretagne, a monumental work of 93 meters. The statue will be unveiled on October 28. Liberty Enlightening the World was immediately a huge success. It will remain the major work of the sculptor Bartholdi, to which he devoted fifteen years of his life. Jules Chéret (1836-1932) was the major poster artist of the Belle Époque. In 1866, he opened a printing press in Paris which was the first to offer lithographed illustrated posters in color. He met the strong advertising demand linked to the appearance of new products, the evolution of sales methods and the intense development of the entertainment industry. He thus played a decisive role in the advent of commercial and cultural advertising. Inventor of the color poster and the illustrated advertising poster in France, nicknamed by his contemporaries "the king of the poster", his production of posters for shows and advertising between the Second Empire and 1900 was considerable. He produced more than 1,400 posters which accompanied France's entry into modern life. At the same time as his career as a poster artist, he devoted the second part of his life to decorative painting, and produced works for his patrons but also for the Hôtel de Ville in Paris, the Musée Grévin, or the prefecture of Nice (Bargiel & Le Men, La Belle Époque de Jules Cheìret. De l’affiche au deìcor. Les Arts Décoratifs, Paris, 2010). This extremely rare print is absent from public collections, both French and American. It is also missing from all the bibliographies devoted to Jules Chéret: Maindron, Les Affiches Illustrées (1886-1895), Paris, 1896 ; Beraldi, Les graveurs du XIXe siècle. Guide de l'amateur d'estampes modernes, 1886, Tome IV ; Broido, The Posters of Jules Chéret, Toronto, 1980 ; and the most recent, Bargiel & Le Men, La Belle Époque de Jules Chéret. De l’affiche au décor. Les Arts Décoratifs, Paris, 2010. This last bibliography is the most complete of all. It lists the 1,430 posters of Jules Chéret, with an illustration for each poster. It mentions a print entitled La Liberté éclairant le Monde. Centième anniversaire de l'Indépendance des États-Unis. Union Franco-Américaine. 1776-1876, with no other mention. But this one is smaller than our print (59 x 46 cm). It is one of the few not to be illustrated, as the author of the bibliography was unable to locate it (pp. 224-225, n°631, "Affiche non localisée"). This is one of the very first projected views of the Statue of Liberty. This illustration can be found on Jules Chéret's advertising poster announcing the diorama representing the monument commemorating the Independence of the United States of America, presented at the Palais de l'Industrie on the Champs-Élysées. This diorama had been made as part of a promotional campaign launched in 1875 by the Committee of the Franco-American Union, in order to raise funds. The diorama was presented for the first time in August 1877 at the Palais de l'Industrie (article in the daily newspaper Le Rappel of August 28, 1877), then a second time at the Tuileries in 1878 (article in the daily newspaper Le Rappel of April 3, 1878). The Bartholdi Museum in Colmar owns a copy of this advertising poster, and dates it from 1874, but from the article in the newspaper Le Rappel, this date is erroneous. The National Library of France also owns a copy of this poster announcing the diorama, and dates it from 1876, but again the date is erroneous. We can therefore assume that our poster was produced before the poster announcing the exhibition of the diorama, and more precisely between 1875, date of the launching of the campaign, and 1876, date of the centennial anniversary. Copy in very good condition. Two small old restorations in the left and right margins, very slight cracks in the upper part of the print, small light stains at the English title.‎

‎Summa theologiae - Incipit tertia pars summe sancti Thome de Aquino. Questio prima deconnenientia incarnationis. - [THE ""FIVE WAYS"" OF PROVING THAT GOD EXISTS]‎

‎Venedig, Bernardino de Tridino - Stagnatius (Bernardino Benalio and Giovanni de Tridino / Bernardino Benalio and Giovanni de Tridino alias Tacuino), 10. April 1486. Folio (binding: 33x22 cm, block: 31,5x21,5 cm). In a charming contemporary full blindstamped pigskin binding over wooden boards. Five raised bands and early handwritten paper title-labels to spine. Spine and upper parts of boards with wear. Front hinge cracked, but still holding, although inner hinge very weak. Brass clasps, but no ties. Boards richly blindstamped with panels of acanthus-stamps and diamond-shaped stamps with two-headed dragons. Centre-panel with round stamps inside which a lion. Front board with ""Iohannes"" repeated four times inside banners. Pasted down front end-paper richly annotated in various hands - contemporary and early - and with several Ex libris - Ditlev Duckert, Sigurd&Gudrun Wandel, and ""A-D"". First blank with contemporary or near contemporary two-line inscription and a discreet stamp (""Veräusserte Dublette aus Stadtbibliothek Frankfurt am Main""). Neat, contemporary handwritten annotations to margins of many leaves. Pasted-down end-paper with many contemporary handwritten annotations as well. Beautifully printed in two columns throughout, 70 lines to each. Handpainted initials in red throughout and rubricated in red. A few leaves cropped at lower blank margin (far from affecting text), one leaf with a vertital tear (no loss), one leaf with a large brown stain, and one leaf with the red initials smudged. Otherwise just some occasional brownspotting. Generally very nice and well preserved. All in all a lovely copy. 200 ff. (a-p8, q-r6 (incl. the 3 ff. of Tabula) + aa-mm8 + 2 ff. Tabula) - thus fully complete, with both registers and the first blank. ‎

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‎The scarce and magnificent Tridino-edition of the seminal third part of the Summa Theologiae, Aquinas' unfinished magnum opus, of which each part constitutes a work in its own right, the third dealing with Christology. It is here that we find Aquinas' groundbreaking ""Five Ways"", his five arguments for the existence of God, arguably the most influential demonstration that God exists ever written. Each individual part of the ""Summa"" has its own separate printing history and its own bibliography, and the three parts are not expected to be found together. The ""Pars Tertia"" was printed for the first time in the 1470'ies, by Michael Wenssler. A reissue of this appeared in 1485. The present edition, by the renowned Venice book printer Tridino, constitutes the second edition of this landmark work of Western thought and the third appearance overall. Aquinas wrote his seminal magnum opus, the ""Summa Theologiae"", as an instructional guide for theology students and those interested in understanding Christian theology. Together, the three volumes that he wrote present the reasoning for almost all parts of Christian theology in the West, following a cycle beginning and ending with God, in between which we find Creation, Man, the Purpose of Man, Christ, and the Sacraments (unfinished), the third part dealing with Christ, the most fundamental question of the existence of God, and man's way of knowing him to exist. Although he left the ""Summa"" as such unfinished, the individual parts have come to form ""one of the classics of the history of philosophy and one of the most influential works of Western literature."" (Ross, James F.: ""Summa theologiae, Christian Wisdom Explained Philosophically"", 2003. P. 165). Determining that the way which leads to God is Christ, the path to God becomes the theme of Pars III of the ""Summa"", where we find Aquinas' Christology developed in full, his seminal demonstration of the existence of God, and his assertation of the necessity of the incarnation. Centering on the unity of the divine and human in the person of Christ, Pars III argues that all human potentialities are made perfect in Jesus. Aquinas here focuses on Christ's true humanity, including his birth, passion, resurrection, and the symbolism of the cross, and combines the Christian and the non-Christian in a synthesis that comes to be defining for all later Christian thought and theological philosophy. The most famous and influential part of Pars III of the ""Summa"", however, is probably Aquinas' considerations of - and arguments for - the existence of God. Exploring the rational belief in God, amongst other things, Aquinas here presents his ""Five Ways"" for the first time. ""Aquinas considers whether we can prove that God exists in many places in his writings. But his best-known arguments for the existence of God come in Ia, 2, 3(the ""Five Ways"")... [i]t would be foolish to suggest that the reasoning of the Five Ways can be quickly summarized in a way that does them justice. But their substance can be indicated in fairly uncomplicated terms. In general, Aquinas' Five Ways employ a simple pattern of argument. Each begins by drawing attention to some general feature of things known to us on the basis of experience. It is then suggested that none of these features can be accounted for in ordinary mundane terms, and that we must move to a level of explanation which transcends any with which we are familiar..."" (Marenbon, Medieval Philosophy, 2004. Pp. 244-45). ""The Five Ways, Latin Quinquae Viae, in the philosophy of religion, the five arguments proposed by St. Thomas Aquinas (1224/25-1274) as demonstrations of the existence of God. Aquinas developed a theological system that synthesized Western Christian (and predominantly Roman Catholic) theology with the philosophy of the ancient Greek thinker Aristotle (384-322 BCE), particularly as it had been interpreted by Aristotle's later Islamic commentators. In his ""Summa Theologica"", which he intended as a primer for theology students, Aquinas devised five arguments for the existence of God, known as the Five Ways, that subsequently proved highly influential. While much of Aquinas's system is concerned with special revelation-the doctrine of the Incarnation of God's Word in Jesus Christ-the Five Ways are examples of natural theology. In other words, they are a concerted attempt to discern divine truth in the order of the natural world. Aquinas's first three arguments-from motion, from causation, and from contingency-are types of what is called the cosmological argument for divine existence. Each begins with a general truth about natural phenomena and proceeds to the existence of an ultimate creative source of the universe. In each case, Aquinas identifies this source with God. Aquinas's first demonstration of God's existence is the argument from motion. He drew from Aristotle's observation that each thing in the universe that moves is moved by something else. Aristotle reasoned that the series of movers must have begun with a first or prime mover that had not itself been moved or acted upon by any other agent. Aristotle sometimes called this prime mover ""God."" Aquinas understood it as the God of Christianity. The second of the Five Ways, the argument from causation, builds upon Aristotle's notion of an efficient cause, the entity or event responsible for a change in a particular thing. Aristotle gives as examples a person reaching a decision, a father begetting a child, and a sculptor carving a statue. Because every efficient cause must itself have an efficient cause and because there cannot be an infinite chain of efficient causes, there must be an immutable first cause of all the changes that occur in the world, and this first cause is God. Aquinas's third demonstration of God's existence is the argument from contingency, which he advances by distinguishing between possible and necessary beings. Possible beings are those that are capable of existing and not existing. Many natural beings, for example, are possible because they are subject to generation and corruption. If a being is capable of not existing, then there is a time at which it does not exist. If every being were possible, therefore, then there would be a time at which nothing existed. But then there would be nothing in existence now, because no being can come into existence except through a being that already exists. Therefore, there must be at least one necessary being-a being that is not capable of not existing. Furthermore, every necessary being is either necessary in itself or caused to be necessary by another necessary being. But just as there cannot be an infinite chain of efficient causes, so there cannot be an infinite chain of necessary beings whose necessity is caused by another necessary being. Rather, there must be a being that is necessary in itself, and this being is God. Aquinas's fourth argument is that from degrees of perfection. All things exhibit greater or lesser degrees of perfection. There must therefore exist a supreme perfection that all imperfect beings approach yet fall short of. In Aquinas's system, God is that paramount perfection. Aquinas's fifth and final way to demonstrate God's existence is an argument from final causes, or ends, in nature (see teleology). Again, he drew upon Aristotle, who held that each thing has its own natural purpose or end. Some things, however-such as natural bodies-lack intelligence and are thus incapable of directing themselves toward their ends. Therefore, they must be guided by some intelligent and knowledgeable being, which is God."" (Encycl. Britt.). ""Thomas Aquinas's ""Summa theological"" was originally written as a teaching document, a guide for beginning theology students. At more than 3,500 pages, it may seem an intimidating introduction to Christian theology"" however, the influence of the ""Summa"" exceeds its volume. Aquinas's work influenced every subject in the liberal arts, especially astronomy, logic, and rhetoric. Aquinas's methodical disputations, rhetorical style, and logic are as much an education as his insights on the balance of faith and reason within Christian doctrine."" (University of Dayton Library). ""During the high Middle Ages theology itself underwent important changes. In the eleventh and twelfth centuries, the study of logic and dialectic began to expand at the expense of grammar and rhetoric… Another change that accompanied this development was the effort to transform Christian doctrine from scattered pronouncements of Scripture, the Councils, and the Church Fathers into a coherent and systematic body of statements. This process culminates in Peter Lombard's ""Sentences""…, and in St. Thomas Aquinas' ""Summa Theologiae""."" (Kristeller, Renaissance Thought and its Sources, 1979. P. 117). Hain:1470" Proctor: 4826 Graesse: 7:139.‎

‎Schedæ [Schedae] Ara Prestz Froda Um Island. - [THE PRE-COLUMBIAN DISCOVERY OF AMERICA]‎

‎Skalhollte, Hendrick Kruse, 1688. 4to. Beautiful red full morocco binding from ab. 1800 with gilt lettering to spine and triple gilt line-borders with corner-vignettes to the boards. All edges with elaborate gilding and witth elaborate gilt borders to inner dentelles. Spine with wear and corners slightly worn. Binding signed Simier R. du Roi (i.e. Rene Simier (1772-1843), the unrivalled royal book binder of 19th century France). Internally a bit of brownspotting and browning due to the paper-quality, but overall in excellent condition. Title-page with assembled woodcut border, and last leaf entirely woodcut and with centre-crest. (2), 14, (8) pp. ‎

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‎Exceedingly scarce first edition of Ari Thorgilsson's (also known as Ari Frode) paramount Book of the Icelanders which is of seminal importance to the history of the pre-columbian Discovery of America, to the history of Greenland, and to the history of Iceland. Ari Frode's ""Schedae"" also known as ""Islendingabok"" or ""The Small Landnamabok"" constitutes one of the earliest sources to the discovery of America by the Norse, one of the earliest references to ""Wineland"" (""Vinland"" - i.e. North America), one of the first printed accounts of the discovery of Greenland, one of the most important works of Icelandic history, The first Icelandic history written in Old Norse, and the first historical Icelandic work by a named writer from the 12th century. Ari Frode Thorgillsson is arguably the most important Icelandic historian, in spite of the fact that the present work is the only on we know for certain was written by him. Apart from being the first Icelandic author to write in Old Norse, he is also the first of all Icelandic historians to mention Wineland, hardly more than 120 years after Leif Ericsson had found it. ""The mere mention of Wineland in this chapter is of the greatest importance since it is the first instance of that name being found in Icelandic literature, and this shows that it was apparently well known in Iceland at the beginning of the 12th century"" (Hermannson, The Book of the Icelanders, Islandica XX 1930, p. 83). This first printed edition of ""Schedae"" was issued by Th. Thorlacius and based on Jón Erlandsson's manuscript - the only reliable one, since Erlandsson copied the original membrane, which still existed on Iceland in 1651. ""The oldest and most reliable accounts of the discovery and earliest habitation of Greenland are undoubtedly by Are Frode. All recent writers have also agreed on this, as they are contained in the few, but important leaves, that we have from his hand under this extremely modest name (Schedae)."" (C.C. Rafn - own translation). Although he is credited with several other historical works, ""Schedae"" is the only written material that we know for certain was written by Ari Frode, who is the most prominent writer of Medieval Iceland. According to Snorri Sturlasson he was the first historical author to write in Icelandic as opposed to Latin, which was the common written language of the time. The work consists of 10 small chapters, in which an account of the history of Iceland from the Landnam period until 1120 is given. ""For posterity Are's reputation remained undiminished"" Snorre calls him ""exceptionally wise and of an excellent memory"", and says that his ""story is the most important of all""."" (Finnur Jonsson - own translation). It is on p. 6, in the second paragraph that we find the seminal passage of the discovery and naming of Greenland and the legendary mention of Wineland (""Vinland"") - translated from the original Old Norse: ""That country which is called Greenland, was discovered and colonized from Iceland. Eric the Red [Eirekr enn Rauthi] was the name of the man, an inhabitant of Breidafirth, who went out thither from here, and settled at that place, which has since been called Ericsfirth [Eiriksfiorthr]. He gave a name to the country, and called it Greenland, and said that it must persuade men to go thither, if the land had a good name. They found there, both east and west in the country, the dwellings of men, and fragments of boats, and stone implements, such that it may be perceived from these that that manner of people had been there who have inhabited Wineland, and whom the Greenlanders call Skrellings. And this, when he set about the colonization of the country, was XIV or XV winters before the introduction of Christianity here in Iceland, according to that which a certain man [lit. he], who himself accompanied Eric the Red thither, informed Thorkel Gellisson."" ""This mention of Wineland,.. acquires its greatest value from that which it leaves unsaid. For had Ari not known that his reference to Wineland and its inhabitants would be entirely intelligible to his readers, he would hardly have employed it"" (A. Reeves, The Finding of Wineland the Good, 1895. p. 9). ""WINELAND the Good is first mentioned in Icelandic literature by the Priest Ari Thorgilsson, in a passage contained in his so-called Islendingabok [Icelanders' Book] (i.e. ""Schedae""). Ari, commonly called the Learned, an agnomen which he received after his death, was born in Iceland in the year 1067, and lived to the ripe age of eighty-one, acquiring a positive claim to the appellation ""hinn gamli"" [the Old, the Elder], which is once given him"" in this instance, however, to distinguish him from another of the same name. Of Ari, the father of Icelandic historiography, the author of Heimskringla, the most comprehensive of Icelandic histories, says in the prologue to his work:""The Priest Ari Thorgilsson the Learned, Gelli's grandson, was the first of men here in the land [Iceland] to write ancient and modern lore in the Northern tongue. Of this book, the so-called Islendingabok, the oldest manuscripts are two paper copies, of a lost parchment manuscript, belonging to the Arna-Magnæan Collection in the University Library of Copenhagen, which are known as 113a and 113b fol. At the end of 113a, the scribe has written as follows:""These 'Schedæ' and narratives of the priest Ari the Learned are copied from a vellum in his own hand, as men believe, at Villingaholt, by the priest John Ellindsson [Jon Erlendsson], Anno domini 1651, the next Monday after the third Sunday after Easter.""This John Erlendsson is known to have made transcripts of many of the sagas for Bryniolf [Brynjolfr] Sveinsson, Bishop of Skalholt. To this worthy bishop's literary ardour, and zeal in collecting the neglected treasures of his language, we owe the preservation of many manuscripts, which would, but for him, doubtless, have perished before the coming of the indefatigable collector, Arni Magnusson.Bishop Bryniolf, unfortunately, left no heir interested in the preservation of his library, and his books were soon scattered. When Arni Magnusson visited Iceland, thirty years after the Bishop's death and ransacked the island for surviving manuscripts, the vellum of the Islendingabok, doubtless one of the oldest of Icelandic manuscripts, had entirely disappeared."" (Rasmus B. Andersen edt. The Norse Discovery of America. Ldn., 1906. P. 1) Iceland's first - and, until 1773, only active - printing press was established around 1530 in Holar, the island's northern episcopal, where it operated until the late seventeenth century. The press came into the private possession of Bishop Gudbrandur Thorlaksson (ca. 1542-1627) and his descendants, several of whom became bishops as well.The printing in Holar was solely centered on religious texts and are of the utmost scarcity and are never found in the trade.In 1648, Brynjolfur Sveinsson (1605-1675), bishop of Iceland's southern diocese Skalholt asked the Danish authorities for permission to establish another printing press to print historical texts and sagas alongside religious books.Not wanting the competition, his northern colleague in Holar intervened to halt this initiative, and nothing came of the plan for a second press nor of the printing of historical subject-matter for the time being. After Thordur Torlaksson (1637-1697), great-grandson of Bishop Gudbrandur Thorlaksson, became bishop in 1674, a monopoly from the King was granted, on April 7th, 1688, to print historical books on Iceland. Shortly after, namely the same year that the grant was given, the present work as well as ""Landnamabok"" and ""Christendoms Saga"" were printed - all three works being of the utmost scarcity. The printing press remained the sole press in Iceland until 1773.In general, pre-Eighteenth-Century Icelandic prints are very rare and are almost never found in the trade. The Skalhollt-prints are of special interest since they were the first in Iceland to print secular and historical works including the sagas thereby making a seminal contribution to preserving the Icelandic cultural heritage. Hermansson Islandica Vol. XIV:p.4). - Fiske p. 15. - Klose: 5413. - Sabin : 34158.‎

‎The Tordenskjold-expedition. 71 albumen prints from the 1860'ies to 1873. - [FINE COLLECTION OF EARLY PHOTOGRAPHS FROM EAST-ASIA DOCUMENTING THE LAYDOWN OF THE FIRST TELEGRAPH CABLES IN EAST-ASIA]‎

‎1870-1872. Folio-oblong (395 x 320 mm). Original brown half calf, recased - the original cloth (with gilt lettering to the front) has been expertly mounted on to the new boards, and most of the original gilt leather spine has been preserved over a perfectly matching new lovely brown half calf. ""Tordenskjold / 1870 - 1873"" in gilt lettering, partly worn of, to front board. End-papers renewed. 71 albumen print in various sizes and by various photographers (see below) mounted on 59 contemporary white cardboard leaves (measuring 370 x 310 mm), all re-hinged. The album was water-damaged at some point, but has been expertly and neatly retored and appears in overall very good condition with good tones. 1, Oval photo of Tordenskjold (205 x 60mm) 2, Photo of Tordenskjold (190 x 143 mm) 3, Crew aboard Tordenskjold (200 x 14 mm) 4, Crew aboard Tordenskjold (157 x 128 mm) 5, Crew and equipment aboard Tordenskjold (228 x 176 mm) 6, Naval officers about Tordenskjold (167 x 130 mm). 7, 8 small photos of various places on one plate (274 x 190 mm) 8, The harbor of Port Said. By Hippolyte Arnoux (247 x 190mm) 9, Muddigging machines in the channel of Port Said. By Hippolyte Arnoux. (245 x 190mm) 10, Port Said. By Hippolyte Arnoux. 11, Malta (262 x 207 mm) 12, Two photos of Malta (each measuring 134 x 120 mm) 13, Two photos of Gibraltar (Each measuring 148 x 114) 14, Deep Water Bay, Hong Kong (194 x 130 mm). 15, Two photos depicting telegraph-house and ships in Deep Water Bay (each measuring 150 x 112) 16, Boat with people. By Felice Beato, coloured (294 x 235 mm) 17, House next to river. By John Thomson, December 1870 (278 x 225 mm) 17, Seamen’s hospital in Hong Kong. (261 x 190 mm) 18, Hong Kong. (270 x 195 mm) 19, Hong Kong, by Floyd (270 x 192 mm) 20, Hong Kong, by Floyd (240 x 190 mm) 21, Two photos of sites in Hong Kong (each measuring 165 x 127 mm) 22, Five Persians in Hong Kong (215 x 244 mm) 23, Group of women in Hong Kong, (326 x 215 mm) 24, Two photos of Hong Kong harbour, one photo depicting “Cella” (182 x 105" 130 x 98 mm) 25, Villa at Canton. (264 x 190 mm) 26, Pagode in Xuexiu Park, Guangdong. By William Pryor Floyd. (195 x 246 mm) 27, Boats in Canton. William Pryor Floyd,(270 x 223 mm) 28, Pou-Ting-Qua’s Garden, Canton. By John Thomson. (289 x 230 mm) 29, Fields in Canton. (205 x 155 mm) 30, Houses in Canton. (267 x 210 mm) 31, Canton harbor. By John Thomson. (245 x 202 mm) 32, Boat on the Canton river. (274 x 204 mm) 33, Wall around Canton. (260 x 200 mm). 34, Boats in Canton (293 x 225) 35, Telegraphstation in Woosung. (150 x 110 mm) 36, Boats in Foochow. (287 x 232 mm) 37, Temple in Foochow. By John Thomson (190 x 237 mm) 38, Pagode in Foochow. Presumably by John Thomson. (287 x 220 mm). 39, Tomb of Fou Tcheou. By John Thomson. (290 x 225 mm). 40, Temple in Shanghai. (237 x 188 mm). 41, Shanghai. (232 x 176 mm) 42, Chaochow bridge, Kwangtung. By John Thomson. (266 x 204 mm). 43. Panorama of Nagasaki consisting of two photos. (371 x142 mm) 44, Two photos of Nagasaki. Felice Beato. (Each measuring 169 x 119 mm). 45, Two photos from Nagasaki. Presumably by Felice Beato. (Each measuring 165 x 118 mm) 46, Two photos from Nagasaki. Presumably by Felice Beato. (Each measuring 165 x 118 mm) 47, Temple in Nagasaki. Presumably by Felice Beato. (169 x 118 mm). 48, Photo of Japanese woman in kimono. By Felice Beato. (205 x 255 mm). 49, Two photos of officers in house in Yokohama. (162 x 125 mm). 50, The Abbot and Monks of Kushan Monastery. By John Thomson. (287 x 204 mm). 51, Wooden structure, presumably Nagasaki. Presumably by Felice Beato. (270 x 208 mm) 52, Pagode, presumably Nagasaki. Presumably by Felice Beato. (234 x 185 mm) 53, Cityscape with lake, presumably Nagasaki. Presumably by Felice Beato.. (280 x 228 mm). 54, Two photos, cemetery and stairs to temple. By Felice Beato. (Each measuring 168 x 118 mm). 55, People standing outside house, presumably Hong Kong. By John Thomson. (185 x 155 mm) 56, Guangzhou Great Norh Gate, Canton. By John Thomson (245 x 156 mm). 57, Two photos, one of the building of a telegraph station (presumably in Wladivostok) and a view of Wladivostok from the sea (154 x 123 130 x 99 mm). 58, Seascape of two ships. (130 x 140 mm). 59, Ship laying for anchor. (170 x 123 mm)‎

‎Exceedingly rare photo-album documenting the Danish vessel Tordenskjold’s mission in laying the very first telegraph cables in East Asia thereby connecting China and Japan to the global telegraph system. The album consists of photos taken aboard the vessel Tordenskjold, of Tordenskjold itself along with its crew, by an unknown photographer, and of photographs of the visited cities and surrounding areas by some of the finest photographers operating in East Asia at the time, such as John Thomson, William Floyd, Felice Beato and, in Egypt, Hippolyte Arnoux - all photographs presumably brought home by William Lund, Captain on board Tordenskjold. The present album depicts a pivotal moment in international relations and communications and does so through some of the earliest photos taken in China, Japan, and of the excavation of the Suez Canal. Submarine telegraph cables were first brought to China by Danish magnate Carl Fredrick Tietgen (1829-1901), a Dane who in 1870 set up the Great Northern China and Japan Extension Company. The company was created to build and operate a telegraph cable linking Hong Kong, Shanghai, and Japan with each other, and on to Vladivostok on Russia's east coast. From Vladivostok, a cable ran along the Trans-Siberian Railway, linking Hong Kong to telegraph networks in Britain, Europe, and America. Tietgen fought off strong, primarily English, competition and eventually won the concession to lay and operate new telegraph cables connecting Russia, China and Japan. It was a grand and risky project Tietgen and his partners were embarking on. Undersea cables would need to be laid in waters that had not been sounded, and cables were to be brought ashore on coasts where the prevailing conditions were not known and it was uncertain whether the respective governments would grant permission. Everything – cables, stations, wire, and apparatus – was to be brought from Europe and had to function as a coherent system. Two chartered English steamships ‘Cella’ and ‘Great Northern’ were to transport and lay the cables, and the propeller-driven Danish frigate ‘Tordenskjold’ was to sound the waters near Nagasaki and Vladivostok and also carry a relative small amount of cables and keep uninvited guests - which the South China Sea had plenty of – away. “As a small nation with negligible military resources, Denmark could provide a useful – politically neutral – centre for telegraph links to major European powers such as Britain, Russia and the emerging new power of Prussia. The Danes were able to utilize the technical know-how which had been accumulated with great difficulty, and occasionally heavy economic losses, in the preceding decades by British and American entrepreneurs. The competition between the Danish and British groups of telegraph entrepreneurs for first access to the Chinese market was preliminarily resolved when the directors of the two companies negotiated a secret agreement in May 1870. The Danish group had acquired an advantage in terms of timing by winning the Russian concession in 1869, and had to cover shorter distances by sea cables from Vladivostok to Nagasaki and Shanghai. But the British group had the advantage of better access to capital and a more extensive technical experience with submarine cable manufacture and operation. The essence of the agreement was that the line between Hong Kong and Shanghai should be established and operated by the Great Northern the companies would share the income for telegrams which passed this section of the line and they would run offices in Hong Kong and Shanghai jointly. The agreement provided the Danes with assured landing rights in Hong Kong and with British diplomatic support for attempts to secure landing rights in China. Permission to bring submarine telegraph cables into Chinese treaty ports was obtained in 1870 from the Chinese Government (i.e., the office of foreign affairs, known as the Zongli Yamen) by the British Minister in Peking, Thomas Wade. At the same time, the Danish government had dispatched a diplomatic envoy, Chamberlain Julius Sick, at the Great Northern’s expense to China and Japan to obtain the necessary concessions. The cable between Hong Kong and Shanghai was laid in 1870–1871 with the assistance of the frigate Tordenskjold, which the Danish government had generously allocated to the task. The Great Northern had a great deal of technical problems with the cables they had bought from the British manufacturer since the quality of the insulation was not as good as expected. Therefore, the official opening of the line between Shanghai and Hong Kong was delayed until April 1871. During the remainder of that year the company struggled to finish cable sections from Shanghai to Nagasaki, and from Nagasaki to Vladivostok. Communication between Shanghai and Europe via these cables and the Russian Siberian lines was officially inaugurated on 1 January 1872.” (Erik Baark: Wires, Codes and People The Great Northern Telegraph Company in China 1870–90) The album covers and illustrates one on the most fascinating periods in the process of internationalization in the late modern period: The Suez Canal had just opened and ‘Tordenskjold’ was the first Danish ship to sail through it. The submarine cables linked the major hubs in East Asia to the Western world and helped facilitate an unprecedented growth in the region. Overall, the laying of the submarine cable in 1870-71 was a transformative event for East Asia in general. It played a critical role in the area's economic and social development, helping to make it the global commercial center it is today. ‎

‎History of the Inductive Sciences. From the Earliest to the Present Times. In three volumes. + The Philosophy of the Inductive Sciences, Founded upon their History. In two volumes. Five volumes in all. - [COINING THE TERM ""SCIENTIST""]‎

‎London, 1837 + London, 1840. Five volumes 8vo. Bound in five contemporary, uniform brown half calf bindings (The Philosophy...-volumes slightly darker brown) with raised bands and gilt spines. Marbled edges. A bit of light edge-wear, but overall very fine and fresh. Some marginal pencil markings to first part of vol. 1 of ""The Philosophy..."", otherwise also internally very nice and clean. All five volumes with the same engraved amorial bookplate to inside of front boards. A very nice, uniform set of the five volumes that make up the two works. XXXVI, 437, (3)" XI, (1), VI pp., pp. (7)-534, (2) XII, 624 pp. + CXX, 523, (1)" IV, 586 pp. + folded plate. ‎

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‎Uncommon first editions of both these splendid works (the ""Philosophy"" is particularly scarce), Whewell's two main works, both seminal in the history of science and philosophy of science. The first of the two works, the ""History"" is considered ""one of the important surveys of science from the Greeks to the nineteenth century"" (DSB), and it is in the second of them, ""The Philosophy..."" - ""one of the masterpieces of Victorian philosophy of science"" (DSB) - that he coins the word ""scientist"", to describe a cultivator of science in general. “William Whewell (1794–1866) was one of the most important and influential figures in nineteenth-century Britain. Whewell, a polymath, wrote extensively on numerous subjects, including mechanics, mineralogy, geology, astronomy, political economy, theology, educational reform, international law, and architecture, as well as the works that remain the most well-known today in philosophy of science, history of science, and moral philosophy. He was one of the founding members and a president of the British Association for the Advancement of Science, a fellow of the Royal Society, president of the Geological Society, and longtime Master of Trinity College, Cambridge. In his own time his influence was acknowledged by the major scientists of the day, such as John Herschel, Charles Darwin, Charles Lyell and Michael Faraday, who frequently turned to Whewell for philosophical and scientific advice, and, interestingly, for terminological assistance. Whewell invented the terms “anode,” “cathode,” and “ion” for Faraday. In response to a challenge by the poet S.T. Coleridge in 1833, Whewell invented the English word “scientist""” before this time the only terms in use in that language were “natural philosopher” and “man of science”.” (SEP). ""First published in 1840, this two-volume treatise by Cambridge polymath William Whewell (1794-1886) remains significant in the philosophy of science. The work was intended as the 'moral' to his three-volume History of the Inductive Sciences (1837)... Building on philosophical foundations laid by Immanuel Kant and Francis Bacon, Whewell opens with the aphorism 'Man is the Interpreter of Nature, Science the right interpretation'. Volume 1 contains the majority of Whewell's section on 'ideas', in which he investigates the philosophy underlying a range of different disciplines, including pure, classificatory and mechanical sciences. Whewell's work upholds throughout his belief that the mind was active and not merely a passive receiver of knowledge from the world. A key text in Victorian epistemological debates, notably challenged by John Stuart Mill and his System of Logic, Whewell's treatise merits continued study and discussion in the present day."" (Cambridge University Press). ""From the late 1830's until his death, Whewell worked mainly in the history and philosophy of science. His three-volume ""History of the Inductive Sciences"" appeared in 1837" in 1838 he was appointed professor of moral philosophy" and the first edition of his two-volume ""The Philosophy of the Inductive Sciences, Founded Upon Their History"" was published in 1840. Both the ""History"" and the ""Philosophy"" were ambitious works, and together they constitute Whewell's major scholarly achievement. The ""History"" had no rivals in its day and remains, despite unevenness, one of the important surveys of science from the Greeks to the nineteenth century. Whewell appreciated the importance of Greek science, especially astronomy, but showed typical disregard for the contributions of medieval scientists. His assessment of the importance of contributions of such major figures as Galileo and Descartes suffers from a heavy intrusion of religious and philosophical biases. But his treatment of Newton and other modern mathematical scientists is fair and sometime brilliant, and is based throughout upon detailed considerations of texts. Wheweel's ""Philosophy"" stimulated major philosophical exchanges between its author and Sir John Herschel, Augustus De Morgan, Henry L. Mansel, and John Stuart Mill. Alongside Mill's ""System of Logic"" and Herschel's ""Preliminary Discourse on the Study of Natural Philosophy"", the work ranks as one of the masterpieces of Victorian philosophy of science. Whewell's effort in these works was unique in his attempt to derive a philosophy of science from the general features of the historical development of empirical science. The importance of this attempt has not been fully appreciated. Whewell thought that the history of science displayed a progressive movement from less to more general theories, from imperfectly understood facts to basic sciences built upon a priori foundations that he called ""Fundamental Ideas."" All science was theoretical in that no body of data comes to us selforganized"" even collection of data involves the imposition of a guiding interpretive idea. Major advances in science occur in what Whewell called an ""Inductive Epoch,"" a period in which the basic ideas of a science are well understood by one or more scientists, and in which the generality and explanatory power of a science are seen to be much more illuminating than those of rival theories. Each such ""Epoch"" had a ""Prelude,"" a period in which older theories experienced difficulties and new ideas were seen to be required, and a ""Sequel,"" a period in which the new theory was applied and refined. Largely ignoring the British tradition of empiricist philosophy and methodology, Whewell erected a philosophy of science upon his understanding of history that derived partly from Kant and Plato, and partly from an anachronistic theological position. Like his British predecessors, he thought that induction was the basic method of science. He understood induction not as a form of inference from particulars to generalizations, but as a conceptual act of coming to see that a group of data can best be understood and organized (his term was ""colligated"") under a certain idea. Furthermore, induction was demonstrative in that it yields necessary truths, propositions the logical opposites of which cannot be clearly conceived. The zenith of the inductive process was reached when a ""consilience of inductions"" took place-when sets of data previously considered disjoint came to be seen as derivable from the same, much richer theory. Although Whewell thought that the paradigm form of a scientific theory was deductive, he departed from the orthodox hypothetico-deductivist view of science by claiming that tests of the acceptability of given theories are extraevidential, based on considerations of simplicity and consilience. He made some attempt to justify the necessity of the conclusions that induction yields by arguing for the identity of facts and theories, and for the theological view that we know the world the way it is because that is the way God made it. In physical astronomy Whewell's work on the tides ranks second only to that of Newton. Also of great importance was his lifelong effort to modernize and improve science education at Cambridge. The achievement in history and philosophy of science probably is less significant, although recent revival of interest in Whewell has centered mainly upon his insights in philosophy of science and methodology. Interest is growing in the interrelations of history and philosophy of science"" and so long as this interest continues to be fruitful, it will be well worthwhile considering what Whewell had to say on the nature of scientific discovery, inductive methodology, and the characteristics of scientific progress."" (DSB, XIV, pp 293-94) ‎

‎Los desastres de la guerra. Colección de ochenta láminas inventadas y grabadas al agua-fuerte. Publicala la Real Academia de Bellas Artes de San Fernando. - [""THE MOST SEARING WORKS OF ART EVER TO DEAL WITH CONFLICT""]‎

‎Madrid, 1906. Folio oblong. Bound in a splendid recent full longgrained burgundy morocco binding in pastiche style, with four raised bands to beautifully gilt spine. Boards with gilt ornamental borders and gilt centre-piece. Gilt line to edges of boards and inner gilt dentelles. Marbled end-papers. All leaves re-hinged. Occasional light brownspotting, but overall very nice. Title-page (the version with the second line (beginning ""Colección de Ochenta...) in lower case), 2 pp. of text (dated 1863) + 80 engraved plates (on fine, laid paper measuring 23,4x32 cm.). Plates 17 and 77 have been misbound (the numbers 1 and 7 look almost the same - Harris II:201: ""In some sets this plate has been bound out of order where the number hs been read as 77"""" II:288: ""In some sets this plate has been bound out of order where the number has been read as 17). ‎

‎A beautiful copy of the splendid fourth edition of Goya's magnificent ""Disasters of War"" - one of the most significant anti-war works of art ever produced - consisting in all 80 plates that were issued. ""The Disasters of War"" constitutes Goya’s political masterpiece, directly inspired by and documenting the horrors he witnessed during the Peninsular War of 1808-14 between Spain and France under Napoleon Bonaparte, the terrible famine in Madrid in 1811-12, and the disappointment at the restoration of the Bourbon monarchy. As such, it is one of the earliest and most important examples of war documentation and remains to this day one of the boldest anti-war statements ever made. This, however, is also the reason why these groundbreaking etchings were not published during Goya’s life-time. It was both too dangerous and too gruesome. As Alastair Sooke puts it, ""[e]ven today it is difficult to look at the Disasters, because Goya catalogues the brutality and fatal consequences of war in such a stark, confrontational and unflinching manner."" (See his article for BBC Culture, 2014). In this seminal series of etchings, Goya not only uses art to comment on politics and the atrocities connected with war, he also pioneers a number of artistic tools. Breaking from painterly traditions, he deviates from the heroics of most previous war art to show us how war can bring out the worst in humanity. He abandons colour in order to show us a more direct truth conveyed by the use of shadow and shade. Also, the fact that he presents the 80 works of art as a collection, together with the harsh, realistic nature of the etchings themselves, connect the images more closely to the art of photography that we are now so familiar with, causing the work as a whole to be viewed as one of the earliest examples of actual first-hand war reportage. The work has been extremely influential, perhaps most famously inspiring Pablo Picasso and Ernest Hemingway (For Whom the Bells Toll). ""There are many contenders for the most powerful example of war art from the past two centuries: Picasso’s Guernica (1937), painted in response to the bombing of a Basque village during the Spanish Civil War, would be an obvious choice. For me, though, nothing quite matches the originality and truth-telling ferocity of the Disasters of War, a series of 80 aquatint etchings, complete with caustic captions, by the Spanish artist Francisco de Goya (1746-1828)."" (Sooke). The execution of the engravings has been dated to a period between 1810 and 1820, but no contemporary edition was made of this spectacular series. ""Possibly by the time they were finished, the war and famine scenes were not of great appeal, and Goya was probably unwilling to risk another financial failure such as he had experienced with the ""Caprichos"". It was a time of stern repression and the publication of the satirican and violently anti-clerical subjects of some of the ""caprichos enfánticos"" would certainly have been dangerous. These facts would account for a postponement of publication. Also, Goya himself tells us that he fell seriously ill in the winter of 1819... and on his recovery he was planning to leave Spain and settle permanently in France. That Goya did not attempt to make an edition of ""Desastres"" in Madrid before leaving for France is borne out by the investigations of Catharina Boelcke-Astor, who showed that the copperplates were stored away in safes by Goya's son Javier, where they remained until the latter's death in 1854. Eventually, in November 1862, they were acquired by the Academia de San Fernando from D. Jaimé Machén for 28,000 reales..."" (Harris I:141). In 1863, the first edition of Goya's seminal work was issued, under the famous title ""Los desastres de la guerra"". In all, 500 copies were issued. A second edition followed in 1892, and a third in 1903. Both of these editions were issued in merely 100 copies. In 1906, the fourth edition appeared, in a number of 275 copies. ""This edition is excellently printed on very suitable papers"" (Harris II: 175) and is considered much superior to the third. A further three editions appeared, in 1923, 1930, and 1937 respectively. ""When Goya had engraved all the plates of the ""Desastres"" he gave his friend, Céan Bermúdez, an album containing a proof set of eighty-five plates, including the eighty plates eventually published as ""Los Desastres de la Guerra"", two plates numbered 81 and 82, which were prepared for the series but not published with it, and the three little engravings of ""prisoners"", which were never intended by Goya for inclusion in a published edition of the series."" (Harris I:140). The first plate prepares the spectator for the contents of the series and can be seen as a sort of frontispiece, plates 2-47 deal mainly with the horrors of the war, plates 48-64 record the terrible famine in Madrid, and the final plates 65-80 constitute the ""Caprichos enfánticos"". "" ""The impact of the scenes is incredible,"" says the independent art historian Juliet Wilson-Bareau, one of the world’s leading Goya experts. ""Each one is a powerful, original work of art in its own right, yet linked to the others with a common theme, including the way their titles - terse comments, questions, or cries of outrage - connect them, and read on from one to another. The grouping of the series into three ‘chapters’ gives the whole a sense of rhythm and purpose."" Goya must have hoped that he would live to see the publication of his Disasters, but the despotic rule of Ferdinand VII made this impossible. ""Under his repressive and reactionary regime,"" Wilson-Bareau explains, ""there was no way that Goya could have published his set of prints that so clearly denounced all violence and all abuse of power."" Still, following their posthumous publication, the Disasters proved enormously influential, inspiring artists including the German Otto Dix as well as Dalí and Picasso - and, more recently, the British brothers Jake and Dinos Chapman, who bought a complete edition of the prints and ‘defaced’ them by adding grotesque, cartoonish faces. Even the war photographer Don McCullin acknowledges a debt: ""When I took pictures in war, I couldn’t help thinking of Goya,"" he has said. The genius of the Disasters is that they transcend particularities of the Peninsular War and its aftermath to feel universal - and modern. Perhaps this is because, as the British writer Aldous Huxley put it in 1947, ""All [Goya] shows us is war’s disasters and squalors, without any of the glory or even picturesqueness."" So should we consider the series as the greatest war art ever created? Wilson-Bareau certainly thinks so. ""For me, yes,"" she tells me. ""I have lived with these prints, which many people consider too shocking, absolutely unbearable, and I find in them - besides the heartbreak and outrage at the unspeakable violence and damage - a great well of compassion for all victims of the suffering and abuses they depict, which goes to the very heart of our humanity."" (From Alastair Sooke's BBC-article). Harris II: 175. ‎

‎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