Søgningsresultat

A la Haye, Chez Jean Néaulme, (Recte: Paris, Duchesne), 1762. 8vo. Bound in four beautiful uniform contemporary full mottled calf bindings with gilt title-and tome-lables to richly gilt spines. Gilt line-border to edges of bords. Lovely patterned edges. Spines and some corners lightly and expertly restored, barely noteable. Occasional very light brownspotting or dusting, but overall very nice and clean. Printed on good, heavy paper, with wide margins. An excellent copy. (2), VIII, (2), 466, (6) pp. + (4), 407, (1) pp. + (4), 384 pp.; (4), 455, (1) pp. + 5 engraved plates (used as frontispieces and facing p. (141) of vol. 1 respectively). The first plate "Thétis" in the variant state without title (as described in MacEachern). Fully complete, exactly as described in MacEachern. With all the misprints: Vol. 1: 88 as S8, 443 as 433, 465 as 46; vol. 2: 356 as 256, 357 as 257; vol. 3: 383 as 363; vol. 4: 336 with first 3 broken (according to McEachern this is just the case in some copies). With the usual cancelled leaves: Vol 1: Av + B4; vol. 2: H3 + N6 (called I6). The final leaf ends with "FIN" and has no grapes (MacEachern: "The grapes appear in three different forms..."). The very scarce actual first edition, being the rarer, more sought-after, nicer 8vo-edition (as opposed to the much more common 12mo edition, which was printed about simultaneously, but which seems to have appeared later), the 8vo format also being the one preferred by Rousseau himself and the format in which he wanted his great work to appear.This magnificent work constitutes the climax of Rousseau's genius as well as the most important work on education since Plato. In Émile, Rousseau poses an entirely new approach to education and the upbringing of children. His thoughts were exceedingly controversial, the work was burnt by the executioner immediately after its first appearance and Rousseau had to flee the country due to a warrant for his arrest. The printing history of "Émile" is extremely complicated and has been a matter of intense dispute for many decades. Until Maceachern's bibliography from 1989, the edition that has now been established as the "Second Paris octavo" (MacEachern 4A) was generally considered the first printing of the work, but there is no longer any dispute about the fact that the present edition is in fact the actual first (1A). The first edition appeared in both 8vo(1A) and 12mo(1B), and it seems to be generally accepted that the 8vo-edition was distributed first, but that parts of the 12mo-edition may have been in printing a bit earlier. Rousseau himself seems to have preferred the 8vo-edition and wished for his great work to appear as this form first ("The question of the format gave rise to some dissension, for while Rousseau felt that the work was more suited to the octavo format, Duchesne preferred to print a duodecimo and only a limited number of the more expensive octavo. Rousseau finally agreed to Duchesne's plan with reluctance, declaring that in his opinion Duchesne was committing an error of judgment and that the octavo would certainly be the more sought after of the two formats." - MacEachern, pp. 18-19). Rousseau himself was more involved in the coming-to-be of "Émile" than perhaps any other author has been in any other book. Throughout the entire process there were a large number of misunderstandings between himself and Duchene which more than once endangered the printing and publishing of this seminal work, and which has contributed greatly to the extremely complicated bibliographical data of it. In fact, up until very late in the process, Rousseau did not believe that the work was actually going to be finished and it took several instances of mediation between the two to keep the work on tracks. Finally, however, the work was a reality, and with it one of the greatest works of Western culture had been born.Rousseau's "Émile" constitutes the most significant modern treatise on the education of man, surpassed only by Plato's "Republic". The comparison with Plato is all the more apt, seeing that both works grow out of and are meant to remedy lacunae in the political philosophy of their authors.The conclusion to Rousseau's work on the social contract, also written during Rousseau's stay in Montmorency, had pointed to a predicament of political thought: that only if man were himself naturally inclined to freedom, could he make use of political freedom. "Émile" is the analysis of the conditions, under which a child can develop into a free human being. As such, it presents the conclusion to Rousseau's earlier works on inequality, political freedom and servitude.The paradox of Émile is that, while the development of human nature must be natural, if the child is to develop into a free human being, steering that development in the right - that is, free - direction requires constant intervention which, moreover, must be hidden from the child. Rousseau details this intervention in his analysis of the five stages in the education of the child, covering the period from birth to the age of 25.Being one of the most influential thinkers of the 18th century, Rousseau is considered one of the indirect causes of the French Revolution. In Rousseau one certainly finds one of the most influential spokesmen for 18th century thought, and it is primarily the thoughts of him and Voltaire that are put into action with the Revolution."The first and last of these (i.e. Héloise and Émile), with their sentimental expression of deism, gave much offence, and Rousseau, like Voltaire, was forced to flee to Prussia. Restless and locally unpopular, he fled again to England, where he had a great welcome. Hume, who had offered him asylum, looked after him patiently..." (PMM 207, Printing and the Mind of Man).The totalitarian tendency of Rousseau's philosophy of education has been noted by a number of philosophers, in recent times most famously, Karl Popper.McEachern: 1A

Paris, J. Delahaye, 1843. Large folio. (58x42 cm.). Bound in 3 uniform contemp. hcalf. Covers with inlaid cloth with ornamentation in gold. Wear to spine ends. Spines rubbed. A repair to lower part of spine on volume one. Chromolithographed frontispiece. XIV,(4),80;(2),68;(4),20;(4),42;(4),21,18,(2) pp. and 2 lithographed maps, 127 lithographed and tinted plates (2 coloured) and 10 handcoloured lithographed plates of flowers. Textillustrations. Cul de lamps. All plates with tissue-guards. Some browning and spotting to many of the plates. First, and only, edition of Berbrugger's monumental description of Algeria. The plates depicts city views, landscapes, costumes, scenes from daily life etc.Colas, 298. - Lipperheide, 1594. - Brunet I, 782.

Lübeck, Jürgen Richolff, 1555. 4to. Senere hellæderbind (omkr. 1750). Med ophøjede bind i 5 rygfelter. Rig forgyldning, men forgyldningen delvis krakeleret. Titelfeltet med forgyldt skindtitel. Øverste kapitæl restaureret. 315 blade, heraf er 1 blad i faksimile (Qqi, - et blad i registeret). Uden det sidste blanke blad. På titelbladet er teksten trykt inden for stor figurlig træstukken ramme. Med de 36 store træsnit som er kopier efter originalerne stukket af Erhard Altdorfer i Lübecker-udgaven fra 1498. Her og der med lettere brugsspor. Af største sjældenhed, kun ganske få eksemplarer i privateje. Med dette værk bliver Middelalderens dyreepos indført i Danmark. "Det i Omfang og Indhold betydeligste Værk er Rævebogen, der indfører Midelalderen dyreepos i vor Litteratur... oversætteren var en Malmøbo og broder til den kendte Lægebogsskribent Henrik Smith... Oversættelsen, der efter Tidens Skik er noget lokaliseret (Løven Kong Nobel holder saaledes Hof i Lemvig) er udført frit, ingenlunde uden Friskhed og Lune, saa at den i det hele og store maa siges at være meget vellykket og endda fornøjelig at læse." (Carl S. Petersen)."With this Reynard the Fox medieval animal fiction is introduced to Denmark. The origin poem goes back to the 12th century in France. In the 13th century the fox becomes the cunning hero in the edition by Fleming, Willem. The poem was printed 1498 in Low German in Lübeck, and in 1539 and 1549 in Rostock by Ludwig Dietz. The 1539 Rostock edition, of which incidentally only one copy is preserved in the Staatsbibliothek, hamburg, is the one used in the translation by herman veigere. The book is dated september 20, 1554, and dedicated to King Christian III.. Veigere's translation is certainly not inferior to the original." (Thesaurus I,282).Lauritz Nielsen, 1406.

Venetia (Venice), Giordano Ziletti, 1574-(73). 4to. Hcalf from ab 1820. Gilt back. Slight rubbing to spine. (78),350 pp. and 65 double-page engraved maps with text on verso of plates (130) pp,56,65 pp. 6 textlvs. at end with brownspots in right margin, sometimes a little browning to pages, few brownspots and a few textlvs. with minor wormtracts. Complete with all 65 maps called for, each measuring ab. 19 x 26 cm. A great part of the maps have some background shadowing from the printers ink, mainly due to the fact, that this is the third Ruscelli-edition, where the plates have been used before. 3 printer's wood-cut devices and 20 smaller and larger woodcuts in the text. 2 woodcuts with Ptolemy shown observing. Third edition of Ruscelli's translation from Venice, 1561. The maps are printed from the same plates, with the exception of Ptolemy's map of the world, for which Malomba had returned to the original conical projection of Ptolemy. Moreover, one map is added: the map of "Territorio di Roma". In general the maps are enlarged copies of Gastaldi's maps from the edition of 1548 which came out in 8vo. The Ruscelli translation contains an important innovation, namely the division of the world map into two parts, one for the Old World and one for the New, as seen on the plate "Tavola Universal", depicting the 2 hemispheres. The atlas contains 27 ptolemaic maps and 38 new. 1 World, 1 Hemisphere, 10 Europe, 4 Africa, 12 Asia and 38 others. 10 of the maps relate to America.Philipps I:380. Sabin 66505. Nordenskiöld Nr. 34 (p.27).

Husum, Matthias et Nicolaus Petersen, 1652. Folio. (48x34 cm.). Bound in a fine contemp. full calf with raised bands. Covers with rectangular triple gilt borders and a large gilt centerpiece. The binding expertly restored with rebacking, edges and corners neatly repaired. Scratches on covers repaired. Edges gilt. Endpapers renewed. Engraved ornamental title-page. (8),301,(3) pp. and 40 double-page maps and plans (43x52 cm, some larger) with original HAND-COLOURING IN OUTLINE. Title with a small stamp in upper margin. Lower margin of title-page a bit frayed. Small wormholes at end, mainly marginal, but a few in image of last 2 maps. With the usual browning to text and maps. First edition of the first full mapping of Schleswig-Holstein and the FIRST ATLAS PRINTED IN DENMARK. The work is highly esteemed, as the mapping and surveying by the Danish cartographer Johannes Mejer showed a precision which was without competition at its time. Mejer was educated in the tradition of Tycho Brahe and Longomontanus, and in the years 1638-48 he mapped Schleswig-Holstein and published these 37 maps in Danckwerth's description of Schleswig-Holstein. These maps were the best for nearly 150 years, and were used by Blaeu and other carthographers. The Danish King, Chr. IV, urged him to proceed with his mapping of Denmark, which he did for some years, making maps of Jutland and a general map of Denmark, in order to make a Nordic atlas, but only these 37 maps were published. Because the quality of the maps was of such a high quality compared with the surveying of the day, the Younger Blaeu used these maps, made re-engravings of them and printed the whole series in his "Atlas Maior" 1662.Coloured copies are very scarce, the offered item is only coloured in outline. The copies (3) in the Royal Danish Library are un-coloured. - Not in Phillips - Shirley T.Danc-1a. - Bibl. Danica III:653

Hafnia, Joachim Moltke, 1643 + Melchior Martzan, 1642. Folio (290 x 200 mm). In contemporary full calf with four raise bands and embossed super ex-libris (C. H. Helwerskov (1655 - 1733), Danish landowner and supreme court judge) to front- and back-board. Rebacked and back-board with repair. Annotations to pasted down front end-paper and front free end-paper. Closed tear to leaf B2. A very nice, clean and wide margined copy printed on heavy paper. 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. A very nice wide margined copy printed on good paper of the 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 & 733Biblioteca Danica III, 23

Copenhagen, Peter Haubold, 1673-80. 4to. A very nice recent full calf pastiche binding with four raised bands and gilt red title-label to spine. blindstamped borders to boards. Old owner's inscription ("Sven Borgh/Lund 1840") to title-page. A very nice and clean copy with only a bit of brownspotting and some evenly browned leaves. A tear (with no loss) to one leaf and one leaf (vol. V, L3) with a neat marginal restoration, far from affacting text. The following two leaves with minor loss to blank upper margin (far from affecting text). The large double-page folded plate with Stensen's lymphatic glands (vol. II, p. 240) with a neat restoration to verso, no loss. Annotations and corrections in the same early, neat hand throughout. Woodcut vignettes and initials. All four title-pages (part III & IV have a joint title-page) printed in red and black. (16), 316; (20), 376; (16), 174, 216; (8), 342 pp. With ab. 60 woodcut illustrations in the text, many of them quite large, two of them full-page, and all 62 engraved plates (of which two are on a folded leaf), four of which are folded. A truly excellent, fully complete copy with all five volumes and all 62 plates. The very rare first edition of all five volumes of Bartholin's groundbreaking medical journal, which constitutes the first scientific periodical in Scandinavia and one of the very first medical periodicals in the world. Thomas Bartholin (1616-1680) was one of the leading physicians of his time, now remembered, among many other things, as the discoverer of the lymphatic system. He "was the most celebrated physician of his period in Denmark and perhaps in all of Europe". (Kronick, p. 81). He is considered "a typical representative of the "Curiosi naturae" of the 17th century with all their learning, diligence and insatiable spirit of curiosity... He belonged with all his heart to the learned period, and yet he made an anatomical-physiological discovery of high mark when he found, and demonstrated, a hitherto entirely unknown vascular system in animals, and later in man - the lymphatic." (Meisen, p. 25). He was a hugely influential and extremely productive man. Apart from his seminal discovery of the lymphatic system, he wrote a number of highly influential treatises, published a series of very influential anatomical papers, published his vast correspondence with other scientists, which has the character of a scientific archive at a time when there were not yet periodicals of natural science, provided us with the most extensive information about medicine in Denmark and about the conditions of the physicians, called attention to the significance of pathological anatomy, etc., etc., and "[y]et the greatest importance is to be attached to his "Acta medica philosophica Hafniensia", in 5 volumes, that was published from 1673 to 1680, when he died. It is a scientific periodical, wide in its scope, one of the first of its kind." (Meisen, p. 28). "The Copenhagen biologists, under the quickening influence of Thomas Bartholin, produced five volumes of transactions known as the Acta medica et philosophica Hafniensia, which is now very rare." (Hagenströmer)The leading contributors to the periodical, besides Bartholin himself, was the great Niels Steensen (Steno), Holger Jacobsen (Jacobaeus), Caspar Bartholin, Ole Borch (Borrichius), Ole Worm, Simon Paulli, Johan Rohde, Caspar Kölichen, etc., but the contributions were not confined to Danes or Scandinavians. For instance, the English anatomist Edward Tyson (1650-1708) also published here, as did several other internationally famous physicians and scientists. Interestingly, the "Acta Hafniensia", as it is known, has a great focus on the odd and curious, the astounding and marvelous, the unnatural and abnormal. Thorndike claims that "Monsters and freaks of nature receive perhaps the most attention." (vol. VIII, p. 234). However, the journal was far from limited to this. "Thomas Bartholin describes the male mandrill illustrated by three anatomical plates (Male genitalia) and a figure of the entire animal, which had died of disease in the Royal Menagerie. Holger Jacobsen describes the scorpion, the salamander, snakes, several birds, the heron and the parrot (based on dissections and figures by Steno). He also investigated the fascinating and unique anatomical puzzle of the tongue of the black woodpecker (with plate). He gives an exceptionally interesting account of the mole cricket, Gryllotalpa, which is important as being one of the first in which the elongated segmental heart of insects is described and figured. This memoir is a commendable piece of zootomical research, and it is all the more outstanding because the subject of it was an invertebrate (Cole). The most outstanding contributions in the entire periodical, however, are the 12 by Niels Steensen (Steno), which are all printed here for the first time. Steensen was the most gifted of Bartholin's disciples, and when he returned to Denmark in 1672, he immediately took up anatomical demonstrations and dissections, the fruits of which he published here, in the first three volumes of the "Acta Hafniensia". His contributions constitute important finds in the fields of The Brain, The Heart, The Muscles and General Embryology. "Steno's dissections of the muscles of the eagle, Aquila (1673) is one of the most remarkable essays in zootomy published up to his time, and it is perhaps more detailed and reliable than almost any other." (Cole). (Gosch 24).In the paper "Embryo monsto affinis Parisiis dissectus" (Gosch 15), we have the first known description of the "tetralogy of Fallot" (Garrison & Morton no 2726.1). "Bartholin was the most celebrated physician of his period in Denmark and perhaps in all of Europe. He was professor of anatomy at the University of Copenhagen and later became Dean of its Medical Faculty. The publication seems also to have associated with the activities of a scientific society, although there seems to be little evidence for Neuberger's statement that the "Acta" were the proceedings of this society. The preface to the translation of the "Acta" which are included in the "Collection Académique" gives the following account of its origins: "The Academy of Copenhagen was founded by Frederick III, who was aware how much glory it brought to him and to Denmark by encouraging the sciences and by attracting and holding scientists in his kingdom. One finds little to clarify the history of this academy, even in the five published volumes. The editing of the memoirs was principally under the care of Bartholin, the first Dane to publish medical observations. His aim was first to make a collection which embraced all parts of science; but, deterred by the immensity of the task, he limited himself to the different parts of medicine and to those observations that were offered to him. His sponsor was Count Griffenfeld, the grand chancellor of Denmark, who obtained an edict enjoining all Danish physicians to render exact correspondence with the Dean of the Faculty of Copenhagen and to inform him of all singularities in medicine and natural history observed in different parts of the kingdom. Bartholin had great hopes for this collection and one can truly find in the five volumes which he published many discoveries which would have been lost or perhaps not have existed if this correspondence had not brought them to light and encouraged him." The "Acta" consisted primarily in short original observations on medical and natural scientific subjects, although it also contained a few abstracts of books." (Kronick p. 81). Waller: 712 (listing only 39 plates)Wellcome: II, p. 108 (listing 61 plates)Gosch: III, pp 58-59 & I, pp. 137-38Hagströmer Library has only vols. I-IVBartholin papers: Gosch: Bartholin 30-43Steensen-papers: Gosch: Steno 15-26; Garrison&Morton: 2726.1Cole, F.J.: A History of Comparative Anatomy, pp 369-93Thorndike: History of Magic and Experimental Science, vol. VIII, Chapter 30Kronick, David A.: A History of Scientific and Technical Periodical 1665-1790, p. 57 & pp. 80-82Meisen: Prominent Danish Scientists through the Ages, pp. 25-28

Nürnberg, Christopher Riegel, 1729. Folio. (38x25 cm.). Bound in two unifrom later half vellum with handwritten titles and line bands on spine, all in black ink. Bound partly uncut. Half-title, (8), 362, (363-367), 368-626 pp. + Tractatus Praecipui 53 pp. + Index (9) pp. + Informatio pro Bibliopegis &c (2) pp. Engraved allegorical frontispiece (by Jean Boulanger after D.K. Ehrenstrahl). 12 engraved portraits and 115 fine engraved plates (numbered up to 112, some numbers omitted, some unnumbered, some double-numb - COMPLETE). Plates are double-page, but some of the plates folded three times and made from more than one copperplate; the plate with the view of Stockholm, showing the procession of the funeral of Carl X Gustav, is printed from 13 plates and is 450 cm. long. One plate (Expeditio Gloriosa... qua Mare Balticum) shaved in left and right margins, loosing part of the printed frame. Many engraved vignettes, coins and medals in the text. Although the binding is rather new, it is the copy's first binding, thus the first and last few leaves in both volumes have some brownspots and some soiling, otherwise rather clean with some scattered brownspots, mainly to margins. A few corners with minor repairs (no loss). 7 plates in part I having a wormtract in upper right corners, not affecting the engravings. Scarce second Latin edition - the first published 1696 - having the same plates as the first, of this magnificent and profusely illustrated work on the Swedish Wars, which also appeared in translations into German and French. The writing of this official history of the Swedish Wars with Poland and Denmark from 1655 to 1660 was entrusted by King Charles XI to Samuel Pufendorf, the famous and important German jurist, political philosopher, economist, statesman and historian, who was made a baron in 1694, shortly before he died. Pufendorf played a decisive role in the development of the philosophy of law and political history. His famous work on the Swedish Wars is also famed for its impressive and excellent illustrations, - not least the 450 cm. long procession-plate. To illustrate the history of the Swedish Wars, use was made of the original drawings by Erik Dahlberg, the Quarter-Master general of the Swedish Army, who was an eye-witness. The drawings were engraved by the same artists that Dahlbergh employed in Paris and later in Sweden for his "Suecia Antiqua", e.g. Boulanger, Cochin, Jean le Pautre, Perelle etc. etc. They includes views from Poland, Denmark, Germany and Norway. It is easy to trace the influence of Callot, as well as of Rubens in these splendid Cavalry scenes. Swedish Books No 38 - Warmholtz: 4840 (1696-edition).

Sth., C. Delén a. Others, 1802-1829. Lex8vo. 10 nice hcalf from ab. 1900 in old style, richly gilt backstop edge gilt.(G.Hedberg). Spines a little faded. Uncut. With 720 handcoloured engr.plates. First edition of the first Swedish colour-plate book on flowers. Palmstruch had learned drawing from Desprez and planned his magnificent work using Flora Danica and Sowerby's English Botany as models. The work was esteemed by contemporaries as an enterprise of national importance. Palmstruch's own illustrations, in the six first volumes, have been characterized as the best pictures of plants ever produced in Sweden, and make this one of the most beautiful of Swedish books (Lindberg, Swedish Books). The last parts of the final volume (vol. 11) were never published and a fire in the printing house destroyed the stock of the last published parts, which are consequently very rare.

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. 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.

Paris, Bossange père; Londres, Martin Bossange et Comp., 1822 & 1823. 8vo. [Traité:] Two lovely contemporary, uniform half calf bindings with gilding and blindstamped ornamentations to spines. "E. C." in gilt lettering to top of spine on both volumes + [Sommaire:] a bit later red half cloth with marbled paper over boards. Gilt title to spine. [Traité]: signed by the author on verso of half-title in vol. 1: "Ch Fourier". Title-page of vol. 1 with a small light brown stain (probably candle-starin), far from affecting lettering. Both volumes in lovely condition, with only very light occassional brownspoting. LXXX, 592 pp.; VIII, 648 pp. [Sommaire:] Title-page slightly browned, evenly. Otherwise very nice, clean, and fresh. 16 pp, pp. (1329) -1448 + 4 ff. (= (A8 (unnumbered) - on two leaves, first recto and second verso blank) + B8, C8, D8, E8).A lovely set. Scarce first edition of Fourier's milestone work of political theory, which is considered a founding work of Utopian Socialism and a main inspiration for Marx. The work, which contains "the essence of Fourier's doctrine" (David Owen Evans, Social Romanticism in France 1830-1848, p. 129.), is here presented together with the exceedingly rare complete supplement, which was published the following year.It is in the "Traité..." that Fourier presents the revolutionary ideas that Marx were to adopt and use in his "Kapital", namely the theory of poverty and exploitation and its relation to the means of production. These same ideas are those that made Marx speak of Fourier's "Gargantuan view of man".It is due to the "Traité de l'association" that Fourier is considered one of the founding fathers of Utopian Socialism (being by far the most utopian of them); in his quest for a more equal society, he became one of the very first to defend things such as same-sex sexuality and the rights of women - in fact, it is Fourier that later coins the word "Feministe", while stating that the position of women in society was equal to that of slaves. Many of his publications preceded those of de Saint-Simon, Owens, and Marx, but his ideas seemed to find greater influence when interpreted by others. Due to the lack of success of the "Traité", Fourier decided, the following year, to publish the "Sommaire", in an attempt to draw attention to his revolutionary ideas in the "Traité". The "Sommaire" constitutes a short, more easily understood, summary, though also containing some additional new work. The "Sommaire" is often referred to as "The Appendix" to the "Traité" and is considered as belonging to that work. One of the central themes of the work is the thought of "harmony": "The word harmonisme - here fully explained and described for the first time - was first applied to the highest of the passions or motives of humankind; then (as a synonym for Harmonie) to the ultimate stage of social evolution. The fortunate inhabitants of the perfected world he called harmoniens, a word coined in the present work. These words were duly translated by the Fourierites of other lands. Harmony, the Harmonic state, Harmonization, or integral contrasted association, were the terms used in the earliest English translations in 1841 to describe Fourier's proposed social system; and Harmonism was employed in the 1850's. The inhabitants were spoken of as Harmonians; and Fourier's philosophy as a whole was sometimes described as the Harmonian Doctrine. Even the word harmonious was called into service as a technical term, one English disciple writing of a Harmonious Phalanx." (Bestor, The Evolution of the Socialist Vocabulary, p. 264).Charles Fourier claimed to find inspiration in the exorbitant price of an apple in a Parisian restaurant and he convinced himself that he could design a more efficient way to produce and deliver goods. Unlike other socialists of his day, Fourier believed that the pursuit of self interest served as an effective incentive to productive work. He simply did not believe that the market economy of his day successfully mobilized the pursuit of self interest for the common good and he was offended by the low productivity of labor. He argued that most people were employed in deadening jobs that failed to fully utilize their energies, and that nearly two thirds of all workers were performing virtually useless tasks. A more efficient economic organization promised enormous benefits to all if only a benefactor capitalist would advance the money necessary to set up the first community or ''phalanstery''.Phalanxes, structures called Phalanstères or "grand hotels", were four level apartment complexes where the richest had the uppermost apartments and the poorest occupied the ground floor residence. Wealth was determined by one's job, jobs were assigned based on the interests and desires of the individual. There were incentives: jobs people might not enjoy doing would receive higher pay. Fourier considered trade, which he associated with Jews, to be the "source of all evil" and advocated that Jews be forced to perform farm work in the phalansteries. Furthermore he believed that there were twelve common passions which resulted in 810 types of character (it is not clear why exactly this number), so the ideal phalanx would have exactly 1620 people. One day there would be six million of these, loosely ruled by a world "omniarch", or a World Congress of Phalanxes.Fourier and his contemporaries such as Owen and Saint-Simon were named utopian socialist because of their visions of imaginary ideal societies. Many saw them as not being grounded in the material conditions of society and as reactionary. Despite Fourier's lacking sense of practicality his ideas profoundly influenced all later socialist political and economic though; Not only was he immortalized by Marx, "John Stuart Mill shared the same enthusiasm for Fourier as did the German Marx and Engels and the American George Ripley. Fourier's was "the most skillfully combined, and with the greatest foresight of objections, of all the forms of Socialism." (Feuer, The Influence of the American Communist Colonies on Engels and Marx, P. 466). Fourier's views inspired in the mid 19. century the founding of the communities in Utopia, Ohio, La Reunion near present-day Dallas, Texas and several other communities within the United States of America, including the North American Phalanx in Red Bank, New Jersey; Brook Farm in West Roxbury, Massachusetts and the Community Place and Sodus Bay Phalanx in New York State.In the mid 20th Century, Fourier's influence began to rise again among writers appraising socialist ideas outside the Marxist doctrines. After the Surrealists had broken with the French Communist Party, André Breton turned to Fourier, writing Ode à Charles Fourier in 1947."Traité de l'association domestique-agricole ":Kress C864 Goldsmiths 23694 Einaudi 1960 (including both works). "Sommaire du traité":Kress C1060Goldsmiths 23997.

A la Haye, chez Isaac van der Klott, 1729-47. Large folio. (54 x 35 cm.). 3 uniform contemporary full mottled calf. Compartments richly gilt. Tome- and titlelabels with gilt lettering. Some wear to top of spine and some cracking to leather along joints on volume I-II. Corners a bit bumped. Small stamp on title-pages. LXI,132; II,336;(6),357,(1) pp. 3 engraved titlevignettes, 10 half-page engraved headpieces and 95 fine engraved plates (7 maps, 13 battle-scenes 73 plans and views, 2 portrait-plates (one as frontispiece in Vol. III)) mostly double-page (also triple-page or more). 8 tables, some folding. Internally fine and clean, printed on good paper. Wide-margined. First edition. Simultaneouly published in French and Dutch. This fine and monumental work describes and depicts the wars of Prince Eugene de Savoye, the Duke of Marlborough and the Prince of Nassau, in Italy, Hungary, Germany, The Netherlands and against the Turcs. The engraved maps are engraved by Hubert Iallot, Covens & Mortier, Guillaume de L'Isle etc. The very detailled panoramas of war scenes, include the fine and famous series made by Jan Huchtenburg (Huchtenburg, Pinxit et excudit). Prince Eugene's almost invariable success on the battle-field raised the reputation of the Austrian army to a point which it never reached either before or since his day. War was with him a passion. Always on march, in camps, or on the field of battle during more than fifty years, and under the reigns of three emperors, he had scarcely passed 2 years together without fighting.Graesse II:445. Brunet II:881. Cohen-Ricci 337. There is no standard collation of this work (varies between 90 and 102 plates).

Kiøbenhaffn, Mads Vingaard, Henrich Waldkirch, Hans Stockelmann, Niels Michelsen, 1595-1604. 4to. Indbundet i 10 - nær samtidige - ensartede marmorerede hellæderbind med ophøjede bind på rygge. Rig rygforgyldning og forgyldte titel- og tomefelter. Alle bind med helt guldsnit. Nogle kapitæler fint udbedrede. Varierende bruning afhængig af papirkvaliteten. Sidste bind "Den Geistlige Historie... 1604) som altid med kraftigere bruning. Dette meget velbevarede eksemplar har tilhørt Henning Valkendorf (1560-1626) til Glorup og Søbogaard og senere søofficeren Frederik Hoppe (1690-1776). På alle forpermer er i guld trykt en lille blomsterkrans hvori et bundet neg (Valkendorfs bogmærke ?). Yderst sjælden i komplet stand som den foreligger her med alle 10 bind, hvis trykkerhistorie strakte sig over 10 år. Værket om fatter: 1. En kaart Historiske Beskriffuelse... Christian den Tredie. 1595. Med kongens portræt opsat på bagsiden af titelbladet. 198 blade. - 2. Beskriffuelse Om .... Kong Christiern den Anden. 1596. 192 blade. - 3. Konning Friederich Den førstis ... Histori. 1597. 198 blade. - 4. Kong Hansis Krønicke. 1599. 178 blade. - 5. Historiske Beskriffuelse... Herr Christiern den Første. 1599. 164 blade. - 6. En Kaart Chronologia ... Fran Canuto VI. oc det Aar 1182. Oc indtil ... 1448. K. 1600. 208 blade. 7. Den Anden Part Chronologiæ. 1601. 332 blade. - 8. Den tredie Part Chronologiae. 1603. 360 blade. - 9. Danimarckis krønicke, fra Kong Dan den første, oc indtil Kong Knud den 6. 1603. 118,18,25 blade. - 10. Den Geistlige Historie offuer alt Danmarckis Rige. 1604. 120 blade.Extremely scarce with all ten volumes of Huitfeldt's celebrated history of Denmark. "After publishing his translation of Saxo Grammaticus, Vedel was asked to continue saxo's work and to bring the study of Denmark down to his own time. There were disagreements about how thorough this history should be and which language should be used, Danish or Latin. The project was then given with Vedel's notes to another historian, who accomplished little, and finally to Arild Huitfeldt. Huitfeldt worked quickly, from 1595 to 1603, providing nine volumes of Danish history from King Dan I down to 1559 and the reign of Christian III. He published the ninth volume first (1595)... In 1604 he added a tenth volume, a chronicle of Danish bishops. Huitfeldt had hoped to create a more carefully written version of hist history, but he died before he had the chance. Although roughj in some places, this work provides an invaluable source of information not otherwise available. For example it contains the text of original documents, letters, and description of laws." (Houghton Library, Danish Literature, 1986).Lauritz Nielsen, 960, 962, 959, 963, 958, 961. - Bibl. Dan. III,12 og II,898. - Thesaurus I, 220-229.

Nürnberg, Johann Leonhard Schrag, 1812-1813-1816. 3 vols. 8vo. 3 contemporary uniform (!) marbled paper bindings with hand-written paper title-labels to spines (hand-writing not legible). Very minor, excellently executed and barely noticeable professional restorations to a couple of hinges and corners. An excellent set, also internally very nice, clean, and fresh, wih only very minor occasional brownspotting. Old owner's inscription in the form of a poem and an old, vague owner's stamp (Giulini) to front free end-paper of volume one. Same stamp to title-page and verso of title-page respectively of volumes 2 and 3. Old owner's name neatly removed from title-page of volume 3.XIV (= title-page + Vorrede + Inhalt), XXVIII (= Einleitung), 334; VI (= title-page + Inhalt), 282; (2 = general title-page stating second volume of Wissenschaft der Logik), X (= title-page, Vorbericht + Inhalt), 403, (1) pp. The scarce first editions of all three volumes that together constitute Hegel's second main work, his "Science of Logic", also called his "Greater Logic" (as opposed to the Logic section of the Encyclopaedia), in which logic is seen as the science of pure thought, concerning the principles by which concepts are formed, and therefore also as that which reveals to us the principles of pure knowing. THIS IS THE RAREST OF ANY OF HEGEL'S MAJOR WORKS TO FIND COMPLETE - IT IS A TRUE SCARCITY TO FIND A SET IN UNIFORM, CONTEMPORARY BINDINGS. Hegel's "Logic" is begun five years after his first major work, the "Phänomenologie des Geistes", and the five years which Hegel has had to develop his philosophy in the meantime are clearly reflected in his monumental second masterpiece. The "Logic" can be regarded as a more systematic and well organized epistemological and ontological work. It is in this groundbreaking work of German Idealism that Hegel develops his famous dialectic, which comes to determinate all later reading of his philosophy. It is Hegel's dialectic theory later condensed as "thesis-antithesis-synthesis" that is developed in this main work of 19th century philosophy. The dialectical process constitutes the movement of thought and consciousness, from basic to complex ideas, and thus demonstrates how the categorical infrastructure of thought can be laid bare by thought itself alone. With this work, Hegel is considered as having created a revolution in the understanding of Logic, because he widens it from being merely concerned with formal rules of propositions to including all of humanity. He elaborates the laws that govern the development of human practice, and as a consequence, he also uncovers the objective laws that govern the entire objective material world. Throughout the 20th century, Hegel's logical philosophy was largely neglected, but the last 40-50 years have shown a revived interest in this most fundamental of works, which is of the greatest importance for the understanding of his systematic thought.Hegel himself considered his "Logic" to be of the utmost importance, and he kept revising it throughout the years. It is very difficult to find a set of all three volumes in first editions.

(Paris), Gallimard, (1943). Bound with the original printed wrappers, also the backstrip, in a contemporary (no later than 1955) beautiful, very elegant grey half morocco binding with five raised bands and gilt title to spine (Gemet&Plumbelle). A beautiful, near mint copy. The seminal first edition, presentation-copy for Claude Gallimard, one of 15 large paper copies, of Sartre's groundbreaking play, "The Flies", which constitutes his very first play as well as the only one he himself characterized as a "drama". The first edition appeared in 15 copies on pur fil and 525 regular copies. The 15 copies on pur fil are not numbered (presumably because the issue was so small and there were no other copies on fine paper made), but the back wrapper states ("EXEMPLAIRE SUR PUR FIL/ 60 francs"). "Gallimard, [1943]. 145 pages. 15 exemplaires pur fil et 525 exemplaires reliés Héliona dont l'achevé d'imprimer est de décembre 1942. Volume mis en vente en avril 1943." (Contat & Rybalka, p. 88).The magnificent presentation-inscription which reads as thus: "A Claude Gallimard/ en hommage amical de/ JPSartre" ("Gallimard" is vague, as someone (presumably Gallimard himself, or his family, when selling the copy) has tried to erase it, as is often done with identifiable names when trying to hide the provenance, but it is still fully legible) is for Sartre's publisher, Claude Gallimard (1914-1991), the son of Gaston Gallimard. Claude Gallimard worked in the family publishing company since 1937."The Flies" counts as Sartre's most important play as well as one of his most important works. It is a dramatical exposition of his central philosophical themes and a main exponent for his existentialism. As such it is also one of the most important plays of the 20th century. It is in 1943, with "The Flies" and with "l'Étre et le Néant" (same year) that Sartre's ideas become fully developed, and of the two, "The Flies" had, by far, the greatest impact on contemporary thought, philosophy, and literature. The work thus constitutes one of the most important and influential works of the period. Following its premiere (June 3rd 1943) in the "Théatre de la Cité" in Paris, the play was censored by the German military administration. Almost immediately after the war, the play was performed again, in Germany as well as in France. Contat & Rybalka: 43/35 (pp. 88-89).

Amsterdam, Apud Ioannem Blaeu, 1668. 4to. All eight parts bound in two excellent, contemporary full vellum bindings with yapp edges and neat handwritten titles to spines. Some sections of leaves quite browned, due to the paper quality, but the greater part of the leaves (and all the plates) is crisp and bright. An excellent copy. Woodcut printer's device to title-page, woodcut initials an vignettes, woodcut and engraved text-illustrations (diagrams). (4) pp., folded engraved portrait of Hobbes (W. Faithorne sculp)folded, 40 pp. + pp. 40,b-m, pp. 41-44 + 2 plates; 146 pp. + 1 blank + 1 plate; (8), 261, (1) pp. + 1 blank + 13 plates; 86 pp. + 1 blank + 8 plates; (16), 174 pp. + 1 blank; 42 pp. + 1 blank + 1 plate; 64 pp + 5 plates; (4), 365, (15 - Indices, incl. errata and "Scripturae Sacrae") pp. + 1 blank. - I.e. fully complete, with all 30 folded, engraved plates (depicting diagrams), all half-titles, and all blanks. Conforming exactly to the Macdonald&Hargreaves collation (our copy without the "Quadratura Circuli", which, according to Macdonald&Hargreaves, is "probably a later insertion", but which "is included in some copies and has a title-page of it's own". Copies without this part, which does not actually belong to the edition, are early and more desireable. Most copies have this later inserted part and thus 31 plates). The extremely scarce first edition of the first collected edition of Hobbes' works, being the most desirable, the most sought-after and by far the most important. It is to this collected edition that one still refers when quoting Hobbes' works academically. It is furthermore here that Hobbes' seminal main work, Leviathan, appears for the first time in Latin.It is a great rarity to find all eight parts of this seminal edition, all of which were probably also sold separately from the printer, together and complete. Another edition of the work appeared later the same year, also with Amsterdam, Blaeu imprint, but actually printed in London. That edition, which is the one found in most library-holdings, is much more common and far less desireable, albeit still rare. "Il faut voir si les huit parties indiquées sur un f. après le frontispiece sont réunies dans l'exempl. Il y a une édit. moins complète faite à Londres, sous la même dat; on y lit sur le frontispice, après le nom de Blaeu: "prostant etiam Londini apud Corn. Bee". Le portrait de Hobbes, par Faithorne, a été ajouté à quelques exemplaires." (Brunet III:239-40)."According to Macdonald&Hargreaves, "[t]here seems to be no uniformity in the order of arrangement of the eight sections of this work. We have seen three (2 vol.) copies bound in the order given on *2r (q.v. in contents) and have arranged the collaction the same way." Our copy is bound in exactly this way. The hugely important "Opera Philosophica... Omnia", or "Opera Omnia" as it is often referred to, constitutes Hobbes' only successful attempt to have his philosophy published during the period. In 1662 the Licensing Act, a statute requiring that all books had to be approved in advance of publication by the Archbishop of Canterbury or the Bishop of London, was enforced, after which Hobbes found himself completely barred from having his political, theological, and historical works published. After his hugely successful 1668 Latin "Opera Omnia", printed in Amsterdam, he did not dare publish his works abroad either, however, and the "Opera Omnia" remained the only important philosophical or political work of his to be published during the period. It was a great sales success. The most important part of the 8 part comprising "Opera Omnia" is the 378 page long final part, which constitutes the editio princeps of the Latin translation of Hobbes' groundbreaking main work, the work from which the "social contract" theory originates, his seminal "Leviathan. "The Latin "Leviathan" was published towards the end of 1668 within the framework of an edition of Hobbes's collected Latin works, the so-called "Opera Omnia" [i.e. Opera Philosophica... Omnia], published with Johan Blaeu in Amsterdam. "Leviathan, sive De Metria, Forma, & Potestate Civitatis Ecclesisticae et Civilis. Authore Thoma Hobbes, Malmesburiensi" is the eighth and last piece of this collection and the only one published there (in Latin) for the first time; it is therefore the only text to receive (on its last page) a list of errata. The three chapters making up an "Appendix ad Leviatham" (and replacing the "Review and Conclusion" of the English edition) need not detain us here, as they are proper to the Latin version. We only want to note in passing that the few translations from the English "Leviathan" contained in the last chapter of his "Appendix" was worked out independently of the translation and in fact prior to it." (Rogers, Karl Schuhmann, "Thomas Hobbes Leviathan, Vol. 1", p. 241).Not only is this the first Latin edition of Hobbes' main work, it is furthermore of great importance to the study of the Leviathan and to the understanding of the development of Hobbes' thought. All later editions of the Latin version of "Leviathan" are greatly corrected and none of them appear in the same version as the present one, which provides us with the text in the form that comes closest to what Hobbes himself desired his masterpiece to be. "[...] Given these results, we may conclude that LL [i.e. the 1668 Latin Leviathan] should be counted an important source for the text of the English "Leviathan". LL is definitely more than a translation that teaches us little or nothing about the text translated. On the contrary, it is based on an independent manuscript copy of "Leviathan", and more specifically on a copy Hobbes had kept with him all the time and had apparently continued to annotate and correct. The variants of LL must therefore be treated with the greatest care wherever there are textual problems in "Leviathan", and not only in those cases in which the text of all English versions is defective. Even where it is a matter of deciding between given variants, LL should have an important, if not decisive voice. Given the fact that LL was worked out integrally by Hobbes at a rather late date, it must also be considered to contain his last decisions regarding the text as a whole. (Rogers, Karl Schuhmann, "Thomas Hobbes Leviathan, Vol. 1", p. 249).Soon after this first Latin edition, many others appeared:"So far, when speaking of LL [i.e. Leviathan in the Latin version] and quoting this work, we have always and only been referring to its 1668 edition as published within Hobbes' "Opera Omnia". But there were also other editions after that date. The first of these appeared in 1670 as a separate edition. It has, unsurprisingly the same imprint as the 1668 edition, for it was published as before with Johan Blaeu, who only added to the title page the bibliographical information "Amstelodami, Apud Joannem Blaeu. M.DC.LXX." Another separate edition was published "Londini. Apud Johannem Tomsoni. M.DC.LXXVI." and a third one, also with John Thom(p)son, "Londini Typis Joannis Thomsonii, M.DC.LXXVIII."." (Rogers, Karl Schuhmann, "Thomas Hobbes Leviathan, Vol. 1", p. 250).Macdonad&Hargreaves: 104; Brunet III:239-40.

's Gravenhaage, Isac van der Kloot, 1729. Large folio. (57 x 34 cm.). Bound uncut (!) in 2 contemp. hcalf. 6 raised bands. Titlelabels with gilt lettering. Wear to spine-ends. A small stamp on foot of title-pages. Title-pages printed in red/black. Engraved titlevignettes. Some engraved vignettes. (6 - incl. half-title),LX,147;(4),358 pp. With in all 90 engraved plates, mostly folded and double-page (or more), including 10 maps, 1 portrait (Eugene), 79 plates (including the 12 famous plates of battlescenes). 5 folded tables. As it is bound uncut the copy is wide-margined, clean and printed on good paper. First Dutch edition, published the same year as the French "Histoire Militaire du Prince Eugene de Savoye... etc.", and with the same engravings. This fine and monumental work describes and depicts the wars of Prince Eugene de Savoye, the Duke of Marlborough and the Prince of Nassau, in Italy, Hungary, Germany, The Netherlands and against the Turcs. The 10 engraved maps are engraved by Hubert Iallot, Covens & Mortier, Guillaume de L'Isle etc. The very detailled panoramas of war scenes, include the fine and famous series made by Jan Huchtenberg (Huchtenberg, Pinxit et excudit). Prince Eugene's almost invariable success on the battle-field raised the reputation of the Austrian army to a point which it never reached either before or since his day. War was with him a passion. Always on march, in camps, or on the field of battle during more than fifty years, and under the reigns of three emperors, he had scarcely passed 2 years together without fighting.

Parma, Galeazzo Rosati, 1688. 4to. In contemporary (original?) cardboardbinding with title in contemporary hand to spine. Occassional brownspotting, primarily to first and last leaves, throughout in margins. Hinges a bit worn, otherwise a nice and completely unsophisticated copy. (4) ff. including half-title, 135 pp. + engraved frontiespiece and 6 plates of Athens, of which one is folded. [folding city plan of Athens, the Temple of Theseon, The Lantern of Demosthenes, The Temple of the Winds, The Temple of Minerva (ie the Parthenon), a bust of Ceres]. Rare first edition of Magni’s important account of Athens, constituting one of the earliest descriptions from the modern era to present accurate eyewitness illustrations of Athen’s legendary monuments. Magni was part of the Embassy of Marquis de Nointel to the Ottoman court and the present publication is the first published, however unoffical, account of any part of this voyage. Charles-Marie-François Olier, marquis de Nointel, was the French ambassador to the Ottoman court of Mehmed IV, from 1670 to 1679. By June 1673, he had achieved a reduction in customs charges, putting France on equal terms with England and Holland and giving new life to French commerce in the Levant. The project of placing Christians and Christian institutions under French patronage was less successful, resulting in numerous actions at law. In September 1673, Nointel made a tour to enregister these new prerogatives; it took him to Chios, the Cyclades, Palestine, and Egypt, ending in Athens. It lasted seventeen months.Nointel brought a painter and draughtsman, who made over 500 drawings of towns, antiquities, ceremonies, and examples of local fetes and customs in Asia Minor, Greece and Palestine. Nointel’s personal account of the Parthenon and Carrey’s drawings, however, remained unpublished until the mid-nineteenth century, which makes Magni’s present work the earliest published account the embassy of marquis de Nointel. “After the fall of Constantinople in 1453 and the Turkish conquest of Greece a few years later, Athens, and the Acropolis in particular, became virtually inaccessible to foreigners. For inspiration and examples from the classical past, the architects of the Renaissance thus relied on Roman ruins, which, though regarded as mere imitations of the Greek originals, were readily visible throughout Europe […] The rich vocabulary of sixteenth- and seventeenth-century architecture was developed without reference to the actual architecture of Greece, over time, the glories of Rome were accepted by many as the real source of inspiration for contemporary architecture and extolled as such.” (Roy, The Ruins of the Most Beautiful Monuments of Greece). OCLC locates 6 copes: 3 in the US and 3 in Europe.

Lutetiae (i.e. Paris), (? Guillaume Morel for) Henri Estienne (II), 1554. 4to. Contemporary limp vellum with remains of ties to boards. Remains of contemporary paper labels to spine and traces of autor in ink in contemporary hand, also to spine.A few smaller worm tracts to boards and a bit of spotting, but overall very nice. A large spot to title-page, presumably erased ink, from the removal of an old owner's name. The spot is in the blank margin, close to the printer's device, but not touching it. Apert from that internally very nice with only light occasional damp staining or browning. Old ink note in Greek characters to front free end-paper and a small note (referring also to "Lyra") on A(1)r. A very nice copy with large margins. Woodcut printer's device to title-page, woodcut headpiece and opening initial. Magnificently printed in all three sizes of the famous "grecs du roi"-type. (8), 110 pp. Rare first edition of the groundbreaking Anacreon-volume by H. Estienne, being the milestone publication that not only constitutes the first book by the brilliant Henri Estienne II, but also the extremely influential editio princeps of the Anacreontea. Furthermore, this groundbreaking publication contains Sappho’s now immortal Aphrodite-hymn, being the very first of any of Sappho’s poems to appear in print (here for the second time in print) as well as the magnificent “Midnight poem” (fragment 168B), establishing for the first time since antiquity the gathering together of poems by Sappho: “A momentous point in her transmission. Yet it is ironic that the first collection of a fragmentary Greek poet known and admired beyond any other today should have appeared as a mere appendix to a book dedicated to another author entirely, without even her name on the title-page.” (Cambridge Companion to Sappho, p. 251). The impact that Sappho - “mother of all women poets” - would eventually come to have upon modern poetry and society was not yet known to Estienne and his contemporaries, for whom she was more or less unknown. Estienne, however, recognized the value of the poems of hers that he had encountered and with the publication of them in the present volume began a tradition that would eventually cause her to become arguably the most celebrated Greek poet of all time. “Estienne’s edition of Anacreon’s poetry was enthusiastically received by the Pléiade poets, which considerably boosted Sappho’s influence on western European literature”. (van Dijk: I Have Heard about You, p. 37). This beautifully printed slim volume constitutes an outright Renaissance sensation. “The “Anacreaonta” became the most influential “ancient” Greek poetic text during the Renaissance, and Estienne’s “editio princeps” virtually caused a poetic revolution, not only in France, but also in Italy and Germany – where this influence culminated in the 18th century with the Anacreontic Poets (“Die Anakreontiker”).” (Schreiber 139). Henri Estienne II – “in many ways the greatest member of the Estienne dynasty, and most certainly its most prolific scholar” (Schreiber) - had travelled extensively through Italy, the Low Countries, and England, in search of Greek manuscripts. It is from one of these that he had printed (possibly by Guillaume Morel) his first book, this editio princeps of the Anacreaontea, which is thus also the first book to bear his imprint. Henri Estienne, along with his contemporaries, believed the work to contain the ancient Greek lyrics of the poet Anakreon (6th century BC), whose poems, are not extant, except for some short fragments. In fact, the poems contained in this volume constitute the Anacreontea, which is a collection of Greek lyric poems written in the style and imitation of Anacreon, at various dates. “Henri’s publication of these “ancient” Greek lyrics caused an immediate literary sensation in France, and was celebrated and immortalized by Ronsard, in an oft-quoted passage of his “Odes”.” (Schreiber). Henri Estienne started out his publishing career with this magnificent publication that catapulted him into fame, and he went on to become one of the most influential literary and scholarly figures of the second half of the 16th century in Europe; he dominated Renaissance scholarship with his magnificent publications and has arguably not been superseded by any publisher since. The young Henri Estienne had discovered the present poems in Louvain, in a manuscript owned by an Englishman named John Clements, who was a friend of Thomas More. Their publication “was a sensation of the first class and the starting-point for a new branch of modern literature” (R. Pfeiffer: History of Classical Scholarship”, p. 109). “This first edition was greeted with tremendous enthusiasm by the members of the Pléiade, who, like everyone else, believed the poems genuine, and each of whom immediately translated or imitated some of the “Anacreontea”.” (Schreiber). The poems may not have been “genuine” Anacreon-poems, but the influence that the publication of them came to exercise was no less profound than had they been; the mark they have left of modern literature is difficult to compare to anything else. The printing of the original Greek text, in all three sizes of the magnificent “grecs du roi”-type, is followed by the first Latin translation of the poems, done by Estienne himself, and by Estienne’s own commentary. The text of this editio princeps has been followed by almost every subsequent editor, and today the name Anacreon cannot be mentioned without thinking of Estienne. After the Anacreon-poems themselves, are two leaves containing first, poems by Alkaios, and second, the two famous poems by Sappho: The Ode to Aphrodite (fragment 1) and the Midnight Poem (fragment 168B, also known as “The Moon Sets”), constituting a momentous point in the Sappho-transmission, namely the first time since antiquity that anyone had gathered together poems by her. Soon after, more Sappho-collections would appear causing her to eventually become the most admired Greek poet. “In a recent article, R. Aulotte… shows how Sappho’s influence on the poets dates from the time when Henri Estienne published the odes then known along with his famous edition of Anacreon. His first edition, published in 1554, contained the “Ode to Aphrodite” and the fragment “The Moon has Set”.” (Mary Morrison: Henri Estienne and Sappho, in: Bibliothèque d’Humanisme et Renaissance T.24, N.2 (1962), p. 388). "From time immemorial women poets have had only one norm, one touchstone: Sappho, the legendary woman poet who lived on the island of Lesbos in the Aegean sea in the 6th century BC. … The Sappho figure is the peg on which views of female poetic genious and female sexuality have been hung, century after century.” (Suzanne van Dijk: I Have Heard about You…, p. (35) ). Dibdin I: 258 (“A beautiful and rare edition”); Schreiber: 139; Renouard: 115.

Nürnberg, Johann Leonhard Schrag, 1812-1813-1816. 3 vols. 8vo. Bound in three lovely contemporary uniform (!) green half calf bindings with gilt spines. Very minor, excellently executed and barely noticeable professional restorations to small pieces of spines and boards. A magnificent set in lovely contemporary, uniform bindings. Some brownspotting as usual. Housed in a custom-made marbled paper cassette. XIV (= title-page + Vorrede + Inhalt), XXVIII (= Einleitung), 334; VI (= title-page + Inhalt), 282; (2 = general title-page stating second volume of Wissenschaft der Logik), X (= title-page, Vorbericht + Inhalt), 403, (1) pp. The scarce first editions of all three volumes that together constitute Hegel's second main work, his "Science of Logic", also called his "Greater Logic" (as opposed to the Logic section of the Encyclopaedia), in which logic is seen as the science of pure thought, concerning the principles by which concepts are formed, and therefore also as that which reveals to us the principles of pure knowing. THIS IS THE RAREST OF ANY OF HEGEL'S MAJOR WORKS TO FIND COMPLETE - IT IS A TRUE SCARCITY TO FIND A SET IN UNIFORM, CONTEMPORARY BINDINGS. Hegel's "Logic" is begun five years after his first major work, the "Phänomenologie des Geistes", and the five years which Hegel has had to develop his philosophy in the meantime are clearly reflected in his monumental second masterpiece. The "Logic" can be regarded as a more systematic and well organized epistemological and ontological work. It is in this groundbreaking work of German Idealism that Hegel develops his famous dialectic, which comes to determinate all later reading of his philosophy. It is Hegel's dialectic theory later condensed as "thesis-antithesis-synthesis" that is developed in this main work of 19th century philosophy. The dialectical process constitutes the movement of thought and consciousness, from basic to complex ideas, and thus demonstrates how the categorical infrastructure of thought can be laid bare by thought itself alone. With this work, Hegel is considered as having created a revolution in the understanding of Logic, because he widens it from being merely concerned with formal rules of propositions to including all of humanity. He elaborates the laws that govern the development of human practice, and as a consequence, he also uncovers the objective laws that govern the entire objective material world. Throughout the 20th century, Hegel's logical philosophy was largely neglected, but the last 40-50 years have shown a revived interest in this most fundamental of works, which is of the greatest importance for the understanding of his systematic thought.Hegel himself considered his "Logic" to be of the utmost importance, and he kept revising it throughout the years. It is very difficult to find a set of all three volumes in first editions.

Leipzig, Weidmanns Erben und Reich, 1787. 4to. Uncut in the original interrim boards. Small exlibris-stamp (J. L. Prevost) to front free end-paper. Light brownspotting throughout. An excellent unsophisticated copy. (4), 77, (1) pp + 11 plates (by S. Capieux). First edition of Chladni’s landmark work on the production of sounds from solid bodies, inaugurating the field of acoustics. Here, he demonstrated the method by sprinkling sand on plates of glass or metal and drawing a bow down their sides to produce a visible vibration pattern called "Chladni figures” or “Chladni patterns”. "The production of sound from solid bodies was not clearly understood until Chladni devised the method of sand figures to illustrate the structure of vibrations in a solid body" (Norman). Chladni "was the first to reduce the general association between vibration and pitch to a tabular basis and thus to lay the foundation of the modern science of acoustics" (PMM). In his famous 1787-experiment, Chladni drew a bow over a piece of centrally fixed metal plate covered with sand, and the vibration of the plate caused the sand to move and accumulate around the nodal lines where the surface remained still, forming Chladni figures. The experiments by Chladni are a corner stone of modern acoustics. However, the motion of particles before they settle to the nodal lines is still not very well understood, and only hypothetical models have been put forward. Chladni had visited the Paris Academy in 1808 and had demonstrated the vibration patterns before an audience that included not only the leading French scientists but Napoleon himself; Napoleon set a prize for the best mathematical explanation but no satisfactory explanations came out of it. Napoleon famously remarked "Chaldni mhas made sound visible" (Dibner). Variations of this technique are still commonly used in the design and construction of acoustic instruments such as violins, guitars, and cellos. Since the 20th century, it has become more common to place a loudspeaker driven by an electronic signal generator over or under the plate to achieve a more accurate adjustable frequency. In quantum mechanics, Chladni figures ("nodal patterns") are known to be related to the solutions of the Schrödinger equation for one-electron atoms, and the mathematics describing them was used by Erwin Schrödinger to arrive at the understanding of electron orbitals.Dibner 150PMM 233Norman 480Sparrow 39

Londini Scanorum (Lund), Adami Junghaus - Vitus Haberegger, 1672. 4to. Contemporary full calf with double blindstamped borders to boards. Spine restored and hinges weak. Otherwise very nice. Title-page dusty and with a little weakness in the paper, presumably from a removed book-plate on the blank part of verso. Last secion of leaves with some light worming to upper blank margin, far from affecting text. All in all a very nice and clean copy with unusually good margins. Old owner's name to top of title-page. Title-page printed in red/black. (20), 1227,(9) pp. Scarce first edition of Pufendorf's magnum opus, one of the fundamental works of natural law. In this milestone work of political and legal thought, Pufendorf presents his system of universal law, which profoundly revised the natural law theories of Hobbes and Grotius. In his teaching, that the will of the state is but the sum of the individual wills that constitute it, he shows himself a precursor of Rousseau and of the "Social Contract"."It is a complete system of public, private and international law. Against Hobbes's view he contended that the state of nature was one of peace, not war, and heurged the view that international law... existed between all nations... [a work] of great importance" (David Walker, The Oxford Companion to Law)."In the 'De jure naturae et gentium' Pufendorf took up in great measure the theories of Grotius and sought to complete them by means of the doctrines of Hobbes and of his own ideas. His first important point was that natural law does not extend beyond the limits of this life and that it confines itself to regulating external acts. He disputed Hobbes's conception of the state of nature and concluded that the state of nature is not one of war but of peace. But this peace is feeble and insecure, and if something else does not come to its aid it can do very little for the preservation of mankind.As regards public law Pufendorf, while recognizing in the state (civitas) a moral person (persona moralis), teaches that the will of the state is but the sum of the individual wills that constitute it, and that this association explains the state. In this a priori conception, in which he scarcely gives proof of historical insight, he shows himself as one of the precursors of Rousseau and of the Contrat social. Pufendorf powerfully defends the idea that international law is not restricted to Christendom, but constitutes a common bond between all nations because all nations form part of humanity." (Encyclopedia Brit.).Collijn: p. 744.

(Leipzig, Johann Ambrosius Barth), 1924. 8vo. Offprint from "Annalen der Physik" IV. Folge, Bd. 74, 1924. With the author's presentation inscription to upper right corner of first leaf: "Hrn. Dr. Faxeén mit / best. Empfehl. d. verf.". Stapled spine with rust slightly affecting surrounding paper. A very fine and clean copy. Pp. (1), 578-627. First edition in the exceedingly rare offprint - with a most attractive presentation-inscription from Heisenberg to Swedish Hilding Faxén, an important contributor to the field - of Heisenberg's doctoral dissertation on the stability and turbulence of fluid flow, which "involved an approximate solution of the complicated equations governing the onset of hydrodynamic turbulence"(David C. Cassidy). It is widely regarded as being "the most important early paper devoted to this subject". (Yaglom, Hydrodynamics Instability and Transition to Turbulence).Hilding Faxén (1892 - 1970), Swedish physicist, received his doctorate in 1921 at Uppsala University with his thesis on "the influence of the container walls on the resistance against movement by a small ball in a viscous fluid". He formulated several basic equations mainly in hydrodynamics; the Faxén integral, the Faxén laws, the Faxén theorems and the Faxén-Waller theory.Heisenberg and Faxén most likely met at the Institute of Theoretical Physics at the University of Copenhagen (Directed by Niels Bohr) where Heisenberg, From 17 September 1924 to 1 May 1925, studied under an International Education Board Rockefeller Foundation fellowship. Despite Sommerfeld's positive evaluation of Heisenberg's thesis - "In the handling of the present problem, Heisenberg shows once again his extraordinary abilities: complete command of the mathematical apparatus and daring physical insight" (Arnold Sommerfeld, evaluation of the thesis, 1923) -, the oral presentation did not go as Heisenberg could have hoped for:"Acceptance of the dissertation brought admission of the candidate to the final orals, where in this case trouble began. The examining committee consisted of Sommerfeld and Wien, along with representatives in Heisenberg's two minor subjects, mathematics and astronomy. Much was at stake, for the only grades a candidate received were those based on the dissertation and final oral: one grade for each subject and one for overall performance. The grades ranged from I (equivalent to an A) to V (an F).As the 21-year-old Heisenberg appeared before the four professors on July 23, 1923, he easily handled Sommerfeld's questions and those in mathematics, but he began to stumble on astronomy and fell flat on his face on experimental physics. In his laboratory work Heisenberg had to use a Fabry-Perot interferometer, a device for observing the interference of light waves, on which Wien had lectured extensively. But Heisenberg had no idea how to derive the resolving power of the interferometer nor, to Wien's surprise, could he derive the resolving power of such common instruments as the telescope and the microscope. When an angry Wien asked how a storage battery works, the candidate was still lost. Wien saw no reason to pass the young man, no matter how brilliant he was in other fields." (Cassidy, Uncertainty).The result was that Heisenberg received the lowest of three passing grades in physics and the same overall grade (cum laude) for his doctorate, both of which were an average between Sommerfeld's highest grade and Wien's lowest grade.There is an interesting epilogue to the story. When Heisenberg derived the uncertainty relations several years later, he used the resolving power of the microscope to derive the uncertainty relations - and he still had difficulty with it. When Bohr pointed out the error, it led to emotional difficulties for Heisenberg. Likewise, this time a positive result came off the affair: Heisenberg's reaction induced Bohr to formulate his own views on the subject, which ultimately led to the so-called Copenhagen Interpretation of quantum mechanics.Heisenberg was awarded the Nobel Prize in Physics in 1932 "for the creation of quantum mechanics, the application of which has, inter alia, led to the discovery of the allotropic forms of hydrogen".Faxén was appointed professor of mechanics at the Royal Institute of Technology in Stockholm, where he remained until his retirement in 1958. In 1948 he was elected a member of the Royal Swedish Academy of Sciences.Cassidy 1924b.

Nürmberg, Gabriel Heyn, 1558. Folio. Bound in a nice later (around 1840) hcalf. Raised double bands. Gilt spine. Gilt lettering. Marbled endpapers. Stamps on foot of title-page. A sort of frontispiece (full-page) is printed on the verso of the title-page, depicting the Putto as the spirit of architecture.Title-page printed in red and black. Dedication and content (4 unnumb.lvs.) - Geometry & Perspective (Ff I-C ) - Geometrischen Büchsenmeisterei (Ff I-XLVIII.) - Befestigung (Ff I-XLIIII ) - Geometrischen Messung (Ff (4),I-XLVI,(3)) - Wag und Gewicht (Ff I-XVII) - Schnelwagen (Ff I-X) ending with colophon and woodcut printer's device. Having more than 300 (many full- and half page) fine wood-engravings executed by V. Solis, G. Pencz, H. Brosamer and Peter Floetner. Internally in extraordinary fine clean condition with only a few minor scattered brownspots. 3 leaves with a minor repair to upper right corner. Scarce second edition (the first 1547) of this profusely illustrated encyclopedia of applied Renaissance mathematics and mechanics."This rare work, which unknown to Poggendorff, Brunet, Ebert and other bibliographers...is remarkable for its numerous fine woodcuts, is full of suggestions, and would well deserve the attention of the historian of physics, who seems to have quite neglected it, owing probably to its great rarity. In the section on ballistics it is of interest to find that the author assigns a curve to the path of a projectile against the hitherto accepted Aristotelian opinion that the latter travels in a straight line and falls vertically after its energy is expended." (Sotheran). - In the work many measuring- and surveying instruments are described and depicted. Ryff is well-known for his medical books and the first German translation of Vitruvius.Wellcome I: 5670 (Ed. 1547). - Adams R,606 (same collation) - Cockle, 661 (Ed. 1547)

Kiøbenhaffn, (Matz Vingaard), (1588-)89. Folio. (39 x 27 cm.). Samtidigt hellæderbind i brunt kalveskind over svært træ og med kanter i smig. Lettere ophøjede bind på ryg. Håndsyede kapitælbånd. Lille hak i skindet på nederste rygfelt. Med de 4 originale hængselsbeslag i støbt messing bevarede, men den ene strop fornyet og den anden mangler. Permerne har begge blindtrykte arabesker, i midterfeltet en stor arabesk og i hjørner og kanter 6 pyramideformede arabesker, som alle er med en blindtrykt krone i pyramidens top. Permerne har mindre messingstifter med store hoveder til beskyttelse af bindet ved opslag. Marmoreret snit. Bindet er ganske velbevaret med kun lidt kantslid og let slid på de ophøjede rygbind. (22),353(i.e.354),226,159 blade. Komplet, men uden de 3 blanke blade. Træskåret titelblad med tekst trykt i rødt i midterfeltet. Titelbladsvarianten med kongens kobberstukne portræt (af Goltzius) opklæbet på bagsiden (en del eksemplarer udkom uden portrættet). Blad 2 med rigsvåbnet, bladet er kantrepareret. 2 træskårne deltitelblade. Registerbladene med svag skjold i ydre marginer. De sidste 35 blade delvist omkantede, for det meste i ydre marginer. Ganske få spredte brunpletter. Iøvrigt ganske lette brugsspor. Et udmærket velbevaret og komplet eksemplar (bortset fra de 3 blanke).På forreste friblad er anført lidt af eksemplarets ejerhistorie fra 1819, - erhvervet af Mikkel Johannesson Fladebøe som her delvist klausulerer dens ejerskab til fremtidige ejere af gården (Fladebøe ?). Senere synes den overgået til andre i slægten bosat i U.S.A. (Olaf Albertsen, Axel Albertsen, Stanley Albertsen, Sidney Albertsen). Folio. (39 x 27 cm.). Contemporary brown full calf over heavy wooden boards with oblique edges. Sloghtly raised bands to spine. Hand-stitched capital bands. A small notch to the leather of bottom compartment of spine. With the four original brass clasps preserved, but one strap has been renewed and the other is missing. Boards with large blindstamped centre-arabesque and six pyramid shaped arabesques to corners and edges, all with a blindstamped crown on top. Large-headed bras spins to boards, to protect the boards when open. Marbled edges. A bit of wear to edges and light wear to the raised bands. (22), 353(i.e.354), 226, 159 ff. Complete, save for the three blank leaves. Woodcut title-page with centre-text printed in red. The title-page variant with the engraved portrait of the king (by Goltzius) mounted on verso. Several copies were issued without portrait, and some were issued, as here, with the title-page mounted on verso. F. 2 with the royal arms, restored at edges. Two woodcut helf-titles. The index-leaves with a vague damp stain to the outer margins. The last 35 leaves have been partly re-edged, mostly at the very outer margins. A bit of light scattered brownspotting. Light signs of wear. An overall well preserved copy in- as well as externally. Front free end-paper with handwritten notes on provenance from 1819 onward – bought by Mikkel Johannesson Fladebøe, who partly clauses the ownership of the copy to the future owners of the estate (Fladebøe?). It seems to have then passed to other generations of the same lineage located in The United States (Olaf Albertsen, Axel Albertsen, Stanley Albertsen, Sidney Albertsen). The magnificent first printing of the second Danish-Norwegian Bible in folio. This, the second Danish Bible in folio, is also the first to be printed by a Dane. The scarce and famous "Frederik II-Bible" constitutes the magnum opus of the famed book printer Mads Vingaard "and the most extensive work of printing undertaken in Denmark during the sixteenth century. The book is profusely illustrated with woodcuts copied from a german Bible issued by Sigmund Feyerabend in Frankfurt a. M. 1560. The original woodcuts were made by the artist and craftsman Virgil Solis... Wide woodcut borders together with pictures using themes from the Scriptures surround the title pages and the illustrations. On the reverse of the first title page many copies have pasted in a portrait of Frederich II, engraved by the Dutch artist Hendrick Goltzius. However, this portrait may also be found on a separate leaf." (Thesaurus I).Lauritz Nielsen, 405. - Thesaurus I, 129. - Birkelund, 34.