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London, Edward Griffin [John Haviland, Bernard Norton, and John Bill], Richard Whitaker [& John Norton], 1638. Folio. (Binding: 32x22 cm, leaves: 31,1x20,8 cm.). Contemporary full speckled calf binding with six raised bands and gilt red leather title-label to spine. Boards with blindstamped ornamental border. Scuff marks to boards and hinges worn, so bands showing. Large woodcut head- and tail-pieces, initials, printer's devices, and typographical ornaments (that have been of great significance to the Baconians in their attempts to establish Bacon as the author of the works attributed to Shakespeare). Roman and Italic lettering, and some Greek. Several neat inscriptions to front free end-papers and verso of frontispiece, in Latin, Greek, English, and German, dated 1704, 1740, and 1926, the last being a presentation-inscription for the renowned German Bacon-scholar and noted Baconian George J. Pfeiffer. Neat early 18th century inscription to top of title-page. Old description of the copy (1946) neatly pasted on to inside of front board. Vague minor damp-staining to lower margin throughout, far from affecting text, and mostly barely visible. A vague minor dampstain to margins of a few leaves at the beginning, also far from affecting text. All in all a lovely, clean and crisp copy on large paper. Full page engraved frontispiece-portrait + (14), 386 (pp. 177-78 omitted in pagination); (16), 475, (1) pp. Fully complete, with separate half-titles for the different works. Scarce first edition, first issue, on large paper - THE GREAT BOOK COLLECTOR VOLLBEHR'S COPY, GIVEN TO THE IMPORTANT BACONIAN G.J. PFEIFFER - of the monumental first collected edition of the works of Francis Bacon, containing the seminal first printing in Latin of not only his greatly influential "Nova Atlantis" ("The New Atlantis" - often referred to as "the blueprint for the founding of America"), but also his groundbreaking Essays ("Sermones Fideli") as well as his history of Henry VII ("Historiam Regni Henrici Septimi") and his Dialogue on the Holy War ("Dialogum de Bello Sacro"), published by Bacon's literary executor, his close friend William Ramsey, to whom Bacon bequeathed most of his manuscripts. This first edition of his works in Latin is of the utmost importance to Bacon-scholarship and has played a seminal role in the spreading of his works as well as the understanding of two of his greatest achievements, The Essays and The Nova Atlantis, which is usually referred to with its Latin title instead of the English.This magnificent copy with its wide margins contains several interesting inscriptions in different languages. One of them, 19th century, in German states that "This book is to remind you of the "15th Century Plot". When, in 1926, you showed to scholars his collection of 2000 incunables. He is also known as "Otto H.F. Vollbehr., [...]" - " Dated "N. York City 29/11 26" And in the same hand, the presentation inscription is continued: "This "little book" is being handed over in friendship to Mr. George J. Pfeiffer the famous "Bacon-scholar" in order for him to continue his fruitful studies [...]." -THE PRESENT COPY THUS EVIDENTLY BEING THE GREAT BOOK COLLECTOR VOLLBEHR'S COPY, GIVEN TO THE IMPORTANT BACONIAN PFEIFFER. "Vollbehr was a German industrial chemist turned book collector who at the close of World War I found himself with more assets than most. Either in his own collection or through consignment Vollbehr had control of thousands of incunabula. In 1926 Vollbehr came to the United States, bringing with him a collection of 3,000 incunabula to be exhibited at the Eucharistic Congress in Chicago. After the exhibition in Chicago, Vollbehr traveled with the collection by train to several other cities. His last stop was in Washington, and over 100 of the books were exhibited in the Great Hall of the Library of Congress. Vollbehr proposed that if a benefactor would step forward to buy the collection for an American institution for half the asking price of $1.5 million, he would donate the other half. In addition, he would include a complete copy of the Gutenberg Bible printed on vellum as one of the 3,000 incunabula.The Gutenberg Bible which crowned Vollbehr's collection had had only three owners. The first owner was said to have been Johann Fust, who took it to Paris and sold it as a manuscript to a representative of the monks of Saint Blasius. It resided with the monks in the Black Forest until they had to move to St. Paul in Carinthia in the face of the Napoleonic army. Finally, in 1926, Otto Vollbehr purchased the three volumes from the monks for $250,000.In December 1929, a bill was presented to Congress proposing that public funds be used to acquire the Vollbehr collection for the Library of Congress. In June 1930 Congress passed the bill and President Hoover signed it into law. Between July 15 and September 3 the Vollbehr books arrived at the Library of Congress. The Bible, one of three known perfect copies printed on vellum, is one of only a few items that are permanently on display in the Library." (from the Library of Congress web-site). George J. Pfeiffer, Ph. D., of New York, graduate of Harvard University, and Vice-president of the Bacon Society of America, is considered one of the most important Bacon-scholars of his time. His thorough scientific studies convinced himself and many others that Bacon was in fact the author of the works attributed to Shakespeare. With THE FIRST PRINTING IN LATIN OF "NOVA ATLANTIS", Bacon's famous theories of his masterly utopian work became widespread and hugely influential. It had originally been printed, posthumously, in English and appeared at the very end of his "Sylva Sylvarum" of 1626, where it was more or less hidden away and quite humbly presented by Rawley, who was responsible for his leftover papers. Rawley's introduction to the Latin edition of the work is quite different from that of the English edition and has had quite an impact upon the reception of the work, a work which came to inspire a totally new philosophical and political genre and which fundamentally changed the way that we view the world. The "Nova Atlantis" occupies a unique place within the works of Bacon; among many other things, it is the only overtly fictional product of his career (if one does not, like Pheiffer, believe that he is actually the true author of the Shakespearean works). The printing of this major work in the history of man's thought is quite interesting and fairly complicated. As mentioned, it appeared at the back of the larger, and much more conform, work "Sylva Sylvarum", which was published by his secretary and friend William Rawley shortly after Bacon's death. It does not, however, seem to have much in common with the "Sylva Sylvarum", and the "New Atlantis" was not even mentioned when that work entered the Stationers' Register on July 4th, 1626.The "Sylva Sylvarum" was being compiled during the last couple of years of Bacon's life, and there is evidence to conclude that "Nova Atlantis" was being translated into Latin at the same time, whereas it seems that the English version of it was written about a year or two earlier. Although the Latin translation was thus left lying around for quite some years before it was finally printed, perhaps due to the fact that it was an unfinished text, Bacon himself seems to have concerned himself a great deal with the Latin translation of the work (as well as the other works). The appearance of them in the "universal language" were, in the words of Bacon himself to be carried out 'for the benefit of other nations', a phrase which is paralleled in the text of "Nova Atlantis", as the father of Salomon's House remarks of his relation of the institution's working that 'I giue thee leave to Publish it; for the Good of other Nations'. And finally does this great work appear to the benefit of all men and all nations, in the universal Latin language, when in 1638 Rawley publishes the "Operum moralium", in which his "Essays" also appear in Latin for the first time, as does the History of Henry VII, and the Dialogue on the Holy War, two other greatly important works. The printed title of the "Operum Moralium" not only informs the reader which texts are included within the volume; Rawley also provides information on the texts themselves, dividing them into two distinct sections (with two separate title-pages). The first section consists of five translations which (apart from De sapientia) had never appeared in Latin translation before; the second section consists in the first part of the "Instauratio" (originally published in 1620). The second issue of the "Operum Moralium" furthermore has the reissued sheets of the last part of the "Novum organum".Rawley's prefatory letter tells us quite a bit about the way that he (and Bacon himself) would like the "Nova Atlantis" to be viewed, and for the first time the work is addressed in a direct and assertive manner, bringing it forth as an important philosophical work, now for the first time properly introduced. Rawley informs the reader that Bacon began the process of translating the Essays and the Nova Atlantis, because he wished his moral and political works not to perish. He goes on to explain the importance of the moral and political works being published in the "universal" Latin and groups the texts in a new way. He now makes a new category of text for the final two works, "De bello sacro" and "Nova Atlantis", calling them 'fragmentary', as opposed to the "Worke Unfinished" that he used for the English "Now Atlantis" of 1626/7, stating that this is at the request of Bacon himself: "And finally he ordered that two fragments be added, the Dialogue of the Holy War, and the New Atlantis: but he said that these were the three kinds of fragments.", giving to them a certain status of their own and a deliberate character that they had not possessed before. For the first time, the "Nova Atlantis", the hitherto hidden-away work that was never properly introduced, is now included in the general preface, which it was not in 1626/27, and the "Nova Atlantis" is given the central position within Bacon's works that it deserved - and that it has possessed ever since. This also explains the great impact of the first Latin version of the "Nova Atlantis" as opposed to the English version, which was far less influential. Not only is "Nova Atlantis" no longer just an unfinished work worthy of no more than being hidden away at the back of a larger work, it is now the central part of a seminal collection of works appearing for the first time in Latin "for the Good of other Nations"."Francis Bacon (1561-1626) was one of the leading figures in natural philosophy and in the field of scientific methodology in the period of transition from the Renaissance to the early modern era. As a lawyer, member of Parliament, and Queen's Counsel, Bacon wrote on questions of law, state and religion, as well as on contemporary politics; but he also published texts in which he speculated on possible conceptions of society, and he pondered questions of ethics (Essays) even in his works on natural philosophy (The Advancement of Learning).After his studies at Trinity College, Cambridge and Gray's Inn, London, Bacon did not take up a post at a university, but instead tried to start a political career. Although his efforts were not crowned with success during the era of Queen Elizabeth, under James I he rose to the highest political office, Lord Chancellor. Bacon's international fame and influence spread during his last years, when he was able to focus his energies exclusively on his philosophical work, and even more so after his death, when English scientists of the Boyle circle (Invisible College) took up his idea of a cooperative research institution in their plans and preparations for establishing the Royal Society.To the present day Bacon is well known for his treatises on empiricist natural philosophy (The Advancement of Learning, Novum Organum Scientiarum) and for his doctrine of the idols, which he put forward in his early writings, as well as for the idea of a modern research institute, which he described in Nova Atlantis." (SEP). Gibson: 196; Lowndes I:96.

Paris, Chez Treuttel et Würtz, 1824. Lex 8vo. Both volumes bound completely uncut in one near contemporary brown half calf with ornametal spine. A bit of wear to capitals, corners, and hinges. Occasional brownspotting. Overall a very nice copy. (Text-vol.:) (4), XVI, 410, (4, - 1 blank leaf + 1 leaf of book binder instructions) pp. + 16 plates, some folded; (2), 45 pp. + 32 plates (numbered 1-21 and A-K). Complete in two vols. w. all 38 lithographed plates. Very rare first edition of the work in which the deciphering of the hieroglyphs was fully presented for the first time. In 1822 Champollion had read his "Lettre a M. Dacier" before the Academie des Inscriptions, and for the first time presented the key to reading hieroglyphs. His monumental work "Précis du système hiéroglyphique" appeared two years later, and in this richly illustrated work he presents his definitive, expanded analysis, and finally corrects the misleading mistakes of the other Egyptologists, counting also Thomas Young. Jean Francois Champollion (1790-1832), the father of Egyptology, is credited with actually deciphering the inscription on the famous Rosetta Stone, translating it, and breaking the mystery of the ancient hieroglyphic script; he is therefore accepted as the founder of Scientific Egyptology, -a title primarily justified with the publication of this work.The Rosetta Stone was found in 1799 by French Troops and was immediately brought to England, where it has been ever since. The stone was (and is) of the utmost importance to the understanding of the Egyptian language, the principles of which were totally unknown up to this point. Because the hieroglyphic inscription on the stone is accompanied by a Greek and a Demotic one with the same contents, Champollion was able to crack the code of the hieroglyphs and to read a language that had not been read for far more than a millennium. Champollion was an extraordinary philologist, who, by the age of sixteen, besides Greek and Latin, mastered six ancient Middle Eastern languages, among these Coptic, the knowledge of which, unlike that of Egyptian, was never lost. As the first, Champollion realized the connection between the Coptic and the Egyptian language, and was able to identify many of the Egyptian words on the Rosetta Stone, as he could read them with their Coptic equivalents. He was the first to believe that both Demotic and hieroglyphs represented symbols, and not sounds as earlier presumed. After that he quickly realized that each single hieroglyph could represent a sign, and he began compiling a hieroglyphic alphabet. In his "Précis du système hiéroglyphique" he could finally, in 1824, prove that the glyphs represented sounds as well as concepts, according to context. Champollion is the constructor of our present code of the hieroglyphic alphabet. "Further study enabled him to discover the values of a number of syllabic hieroglyphic signs, and to recognize the use of hieroglyphs as determinatives. In cases where the Greek text supplied him with the meaning of hieroglyphs of which he did not know the phonetic values, his knowledge of Coptic enabled him to suggest values which he found subsequently to be substantially correct. Further reference to determinatives and the importance of parallel passages and texts will be made later on in his work. Between 1822-24 CHAMPOLLION worked incessantly, and was enabled to modify much of his earlier views, and to develop his Alphabet, -and he evolved some rudimentary principles of Egyptian Grammar. The results of his studies at this period he published in his "Précis du Système Hiéroglyphique", Paris, 1824, wherein he took special pains to inform his readers that his system had nothing whatever to do with that of Dr. YOUNG." (Wallis Budge, The Rosetta Stone in the British Museum, pp. 224-25). "... Ces mémoires réunis formèrent le grand ouvrage publié aux frais de l'Etat en 1824 sous le titre "Précis du système hiéroglyphique des anciens Égyptiens", didié au roi." (N.B.G. Vol. 9, p. 650).

Copenhagen, Peter Haubold, 1673-80. 4to. Bound in four full mottled calf bindings from ab. 1800 with five raised bands to richly gilt spines. All edges of baords gilt. Bindings with some wear, especially to capitals, hinges, and corners. Old owner's inscription "AEM Schleisveig/ Paris 1 Juli 1889" to front free end-papers. Some brownspotting and browned leaves. 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. Fully complete, 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

(Paris), Gallimard, (1957). Bound uncut and with the original printed wrappers, aslo the backstrip, in a magnificent full black morocco binding with more than 100 calf onlays in seven different tones of red/orange, forming three hypnotizing circles on each board. Gilt title to spine, all edges gilt, and bright red suede end-papers within cream calf borders. Housed in a matching black morocco chemise with gilt title and red and grey paper covers, with suede on the inside, and a slipcase of the same paper and with black morocco edges. The binding is signed J.P. Miguet and dated 2003. One of the morocco onlays on the back board, towards the spine, has a tiny tear at the edge. Otherwise the binding is in splendid condition. Also internally, the copy is near mint. Apart from the backstrip, which has been mounted and slightly restored, it is completely clean, fresh, and crisp. Elengant, blindstamped super-exlibris to inside of front board. Nr. 35 out of merely 45 numbered copies on Hollande van Gelder - first paper (premier papier), followed by another 1.145 numbered copies on other kinds of paper - of Camus' great collection of stories, which are considered among the best of his works. Together, these stoires cover the entire variety of existentialism - or absurdism. There is general consensus that the clearest manifestation of the ideals of Camus can be found in the present work.

Marosvásárhely, Kali Simon, 1843. 8vo. In a simple contemporary half calf with gilt ornamentation to spine forming five compartments. Later paper title-label with gilt lettering pasted on to spine, partly detached in right margin. Light wear to extremities. Stamp to front free end-paper. First leaves evenly lightly browned. An overall fine and clean copy. XLIV, 386 pp. + 2 folded plates, one with 12 folding flaps with partial grey colouring. The rare first edition of Bolyai’s important work on the foundations of mathematics, being his last major work. It is in part based on his ‘Az arithmethica eleje’ (1830), in many aspects a rudimentary and introductory work, and the second volume of his magnum opus ‘Tentamen juventutem studiosam elementa matheseos purae’ (1832-33) – but here, for the first time, expanded and fully expounded. As with Bolyai’s other works, it was unappreciated by his contemporaries: “He can be taken as a precursor of Gottlob Frege, Pasch, and Georg Cantor; but, as with many pioneers, he did not enjoy the credit that accrued to those that followed him” (DSB). His work was considered mathematically incomprehensible by his colleagues and only his students and his son, János Bolyai, understood and appreciated it. Probably because of lack of interest from Bolyai’s contemporaries, all of his works are now rare, the present work being no exception. It has appeared only once at auction the past 30 years.In 1796, Farkas Bolyai (1775-1856) traveled to Germany, first to Jena and then to Göttingen, where he studied until 1799. It was at this time that Bolyai began his lifelong friendship with Carl Friedrich Gauss, also a student at the University Göttingen, who was already intensely engaged in mathematical research. Bolyai’s interest in the foundations of geometry dates from this period, especially in the so-called Euclidean or parallel axiom, to which Kastner and Seyffer, as well as Gauss were devoting their attention. Bolyai maintained a correspondence with Gauss that, with interruptions, lasted all their lives. Bolyai accepted the position of professor of mathematics, physics, and chemistry at the Evangelical-Reformed College at Marosvásárhely in 1804, where he taught until his retirement in 1853. Meanwhile, he continued his research, concentrating on the theory of parallels. He sent a manuscript on this subject, Theoria parallelarum, with an attempt to prove the Euclidean axiom, to Gauss in 1804. The reasoning, however, satisfied neither Gauss nor himself, and Bolyai continued to work on it and on the foundations of mathematics in general. “In 1829 Bolyai finished his principal work, but because of technical and financial problems it was not published until 1832–1833. It appeared in two volumes, with the title Tentamen juventutem studiosam in elementa matheseos purae, elementaris ac sublimioris, method intuitiva, evidentiaque huic propria, introducendi, cum appendice triplici (“An Attempt to Introduce Studious Youth Into the Elements of Pure Mathematics, by an Intuitive Method and Appropriate Evidence, With a Threefold Appendix”). While writing the Tentamen, Bolyai had his first difficulties with his son János. In spite of warnings from his father to avoid any preoccupation with Euclid’s axiom, János not only insisted on studying the theory of parallels, but also developed an entirely unorthodox system of geomentry based on the rejection of the parallel axiom, something with which his father could not agree. However, despite misgivings, Bolyai added his son’s paper to the first volume and thus, unwittingly, gave it immortality. In 1834, a Hungarian version of Volume I was published. The Tentamen itself, the fundamental ideas of which may date back to Bolyai’s Göttingen days, is an attempt at a rigorous and systematic foundation of geomentry (Volume I) and of arithmetic, algebra, and analysis (Volume II). The huge work shows the critical sprit of a man who recognized, as did few of his contemporaries, many weaknesses in the mathematics of his day, but was not able to reach a fully satisfactory solution of them." (DSB) Neverthless, when it is remembered that Bolyai worked in almost total isolation, his works are a most remarkable witness to the sharpness of his mind and to his perseverance. Not in Sommerville

Ihenae (Jena), Rhodius (Rödinger), 1556. 4to. In contemporary blindstamped pigskin over wooden boards with three raised bands and two clasps. Wear and soiling to extremities. Pigskin partly detached to upper part of boards. Previous two owner's names in contemporary hand to title-page. A few occassional underlignings and marginal annotations in contemporary hand throughout. Small worm-tract affecting last 20 leaves, internally generally fine. (10), 367 pp. Rare first printing of Martin Luther's early letters from 1507 to 1522, spanning the years from the celebration of his first Mass to his removal to Wartburg Castle after the Diet of Worms. Among them is a notable letter Cardinal Albrecht, Archbishop of Magdeberg and Mainz accompanying a copy of the 95 Theses, composed on the very day (October 31st, 1517) when Luther affixed the Theses to the door of the church in Wittenberg and Luther's first letter to Erasmus, penned on March 28th, 1519. These letters provide a most interesting perspective into Martin Luther's personal and public reflections on crucial aspects of the early days of the Reformation. The collection encompasses correspondence with figures such as Emperor Charles V, Pope Leo X, King Henry VIII, Georg Spalatin, Philip Melanchthon, Frederick, Elector of Saxony, Andreas Karlstadt, Cardinal Tommaso de Vio Cajetan and many others. The present work was edited by Joannes Aurifaber (1519-1575), Luther’s private secretary, who lived with Luther at the time of his death: “Joannes (Vinariensis; 1519–1575), was born in the county of Mansfeldt in 1519. He studied at Wittenberg where he heard the lectures of Luther, and afterwards became tutor to Count Mansfeldt. In the war of 1544–45 he accompanied the army as field-preacher, and then lived with Luther as his famulus or private secretary, being present at his death in 1546. In the following year he spent six months in prison with John Frederick, elector of Saxony, who had been captured by the emperor, Charles V. He held for some years the office of court-preacher at Weimar, but owing to theological disputes was compelled to resign this office in 1561. In 1566 he was appointed to the Lutheran church at Erfurt, and there remained till his death in November 1575. Besides taking a share in the first collected or Jena edition of Luther’s works (1556), Aurifaber sought out and published at Eisleben in 1564–1565 several writings not included in that edition. He also published Luther’s Letters (1556, 1565), and Table Talk (1566). This popular work, which has given him most of his fame, is unfortunately but a second or third hand compilation.” (Encyclopedia Britannica). A second volume was published as “Secundus tomus epistolarum” in 1565. Adams L1805 BM STC German, 1455-1600,; p. 535

Kbhvn., 1763-81. 4to. Indbundet i 9 samtidige helldrbd., hvoraf de 7 er i pragtfulde spejlbind med rig rygforgyldning. Stort eksemplar på skrivepapir (undtagen bd. 7 som kom senere, og som er på trykpapir). Bd. 2 og 7 afvigende i indbindingen. Med alle 296 kobberstukne prospekter, plancher, grundtegninger og kort samt det store Generalkort over Danmark, som ikke findes i alle eksemplarer. Enkelte kort repareret i foldningen, kun enkelte brunpletter (i bd. 2), ellers frisk og ren. Originaludgaven af Danmarks topografiske hovedværk.

Paris, Iean Roigny, 1556. Folio. In contemporary linp vellum, with three (of four) of the original vellum ties. Binding with wear and inner hinge weak, but in completely original state, with no restorations. Only some light scattered brownspotting and a worm-tract to inner margin, just occasionally touching a few letters. Book-plate to pasted-down front end-paper. A lovely copy. (4), CCXLIII ff. The scarce first edition of Saliat's translation of the complete Histories of Herodotus, being the extremely popular first French edition and arguably the most important French edition of the work ever published. Saliat's monumental 1556-translation of Herodutus was extremely influential end widely used and quoted. It greatly influenced the way that Herodotus was used and understood in Renaissance France. It was used by virtually all contemporary French intellectuals as the main reference - as for instance Sandys points out, it is from this that all of Montaigne's Herodotus-quotations are taken (Sandys, vol. II, p. 197). Pierre Saliat had published a small work in 1552 consisting the the first three books of Herodotus, and in 1556, his monumental translation of the complete work appeared; for the first time, all nine books were accessible in the French language. "Little is known of Saliat's life except that he had produced two previous translations from Latin, Erasmus' "On Methods of Instructing Children" and a collection of Roman speeches. Both translations of Herdotus are dedicated to the king, Henry II, and Saliat notes that the work on the first three books had taken him six years to complete and that it had taken him a further five years to translate the remaining six books. In the preface to the 1556 translation, Saliat compares at length the scale and grandeur of the Persian Wars with Henry's recent invasion of Germany. Henry's deeds are portrayed as greater than those described by Herodotus... [The preface] reads as a salutary encomium of Henry's military and political prowess." (Brill's Companion to the Reception of Herodotus in Antiquity and Beyond, p. 127). In short, Saliat views Herodotus' work as a manual for or collection of examples of warfare that is fully transferable to other times, rather than a mere memoralization of great deeds. Graesse: III:256.

London: Richard and John E. Taylor, 1849. Large 4to. (300x231mm). Original blank wrappers. Some small tears. Back strip proffesionally repaired with Japanese paper. With presentation-inscription by Faraday in ink on title page: "William Thomson Esq. | St. Peters College | from the Author." (2),41,(1:blank) pp. First edition, rare offprint-issue, of "one of the great classics of chemistry and physics". With an extremely attractive presentation-inscription from Faraday to William Thomson (later Lord Kelvin), who delivered the first mathematical exposition of Faraday's researches in electricity. Thomson provided an important theoretical direction for Faraday's interpretation of his own experiments and the two colleagues motivated and inspired each other to a degree that the research and knowledge of electricity they possessed and published would not have would have been reached until many years later. The paper itself is of the utmost importance, since much of Faraday's groundbreaking research published in 1831-1839 contained many shortcomings and errors which are corrected in this publication. "The corrected second edition of volume 1 is preferred, because the first edition (London 1839) contained many errors". (Neville, Historical Chemical Library)."In June 1849 William Thomson wrote to Michael Faraday suggesting that the concept of a uniform magnetic field could be used to predict the motions of small magnetic and diamagnetic bodies. [...] There had been an important exchange of ideas between the two, who had a common interest in explaining voltaic, electrostatic, magnetic, optical, and thermal phenomena. They meet every year between 1845 (where they became acquainted) and 1849". (Gooding, Faraday, Thomson, and the Concept of the Magnetic Field).In 1845 Thomson gave the first mathematical development of Faraday's idea that electric induction takes place through an intervening medium, or "dielectric", and not by some imprecise "action at a distance". He also devised a hypothesis of electrical images, which became a powerful agent in solving problems of electrostatics, or the science which deals with the forces of electricity at rest. It was partly in response to his encouragement that Faraday undertook the research in September 1845 that led to the discovery of the Faraday Effect, which established that light and magnetic (and thereby electric) phenomena were related.Faraday was also the direct cause of William Thomson's work on the transatlantic submarine telegraph cable. In 1854, Faraday had demonstrated how the construction of a cable would limit the rate at which messages could be sent, which later would be termed the bandwidth. Thomson immediately looked into the problem and published his response the same month Faraday had published his observations. Thomson expressed his results in terms of the data rate that could be achieved and the economic consequences in terms of the potential revenue of the transatlantic undertaking. In 1855, Thomson stressed the impact that the design of the cable would have on its profitability. Thomson's work on the cable consequently resulted in a complete system for operating a submarine telegraph that was capable of sending a character every 3.5 seconds. He patented the key elements of his system, the mirror galvanometer and the siphon recorder, in 1858.From 1831 to 1852, Michael Faraday published his "Experimental Researches in Electricity" in The Philosophical Transactions of the Royal Society. These papers contain not only an impressive series of experimental discoveries, but also a collection of heterodox theoretical concepts on the nature of these phenomena expressed in terms of lines of forces and fields. He published 30 papers in all under this general title. They represent Faraday's most important work, are classics in both chemistry and physics, and are the experimental foundations for Maxwell's electro-magnetic theory of light, using Faraday's concepts of lines of force or tubes of magnetic and electrical forces. His many experiments on the effects of electricity and magnetism presented in these papers lead to the fundamental discoveries of 'induced electricity' (the Faraday current), the electronic state of matter, the identity of electricity from different sources, equivalents in electro-chemical decomposition, electrostatic induction, hydro-electricity, diamagnetism, relation of gravity to electricity, atmospheric magnetism, and many others."Among experimental philosophers Faraday holds by universal consent the foremost place. The memoirs in which his discoveries are enshrined will never cease to be read with admiration and delight; and future generation will preserve with an affection not less enduring the personal records and familiar letters, which recall the memory of his humble and unselfish spirit." (Whittaker, A History of the Theories of Aether & Electricity, p. 197).

Zürich, Verlag des Waysenhauses, 1774 -(77). Folio. Bound in cont. marbled boards. Gilt lettering on back. The marbled paper over boards as well as back and edges in some places torn, especially spine and corners. Kept in a fine morocco-backed box. Title-page with a large engraved vignette. (4), 129, (1) pp., 2 engraved plates (Tab. A+B) with 58 hand-coloured illustrations to Linné (C.L.J. Gesneri delin - Bullinger sculpsit) and 100 wood-cut plates (with 101 illustrations of plants (plate 47 verso with an illustr.). All in fine original hand-colouring. Printed on good paper, internally fine and clean. First (and only) edition of Schinz's reissue of 101 plates from Leonhart Fuch's "De Historia Stirpium", Basel 1542, a work which marks the birth of botanical illustration and perhaps the most celebrated and most beautiful herbal ever published. The selection by Schinz of 101 illustrations from Fuch's work (containing 512 plates) was printed with the original wood-blocks, which Schinz borrowed from Chorherr Gessner, in the possession of whom they were to be found. In talking about the girls and boys from the "Waysenhaus" colouring the plates, Schinz said (in the Vorrede): "Ich freute mich, da mir der Gedanke glücklicher Weise beyfil, dass mein Oheim Hr. Doctor und Chorherr Gessner die ganze Sammlung der Holzformen von den Pflanzenhistorie des Herrn Leonhard Fuchsen besitze, und dass diese zu einem Versuche in dieser projectirten Beschäftigung dienen könnten." In this way the plates are original, the prints taken from the original blocks (Originalstöchen) and hand-coloured in the years 1774-77. "The plates established the requisites of botanical illustration - virisimilitude in form and habit, and accuracy of significent detail." (A.G. Morton)."Fuch's plates in particular played a curious but important part in the development of systematic botany owing to the fact that they were extensively pirated and appeared in very many works during the sixteenth and seventeenth centuries, and even later." (A.G. Morton)."Far more impressive in appearance, though less sensitive in execution, is the great folio herbal, De Stirpium, of Leonhart Fuchs, published in Basle in 1542. With its hundreds of full-page illustrations of plants, it deservedly ranks as the first of that long line of monumental flower-books which during the last four hundred years have poured from the printing-presses of Europe. Many other fine herbals - those for instance of the Italian Matthioli - were issued during the sixteenth century, but none was quite so lavishly illustrated." (Wilfrid Blunt in Great Flower Books p. 27). - Nissen No 1761 - Hunt No 640. Dibner No 19 (Fuchs) - Printing a. The Mind of Man No 69 (Fuchs).

Paris, L'Imprimerie de la République, AN VIII (1800). 4to. a. Imperial folio. Bound in 4 uniform contemp. blue hcloth with marbled boards. Gilt lettering on spines. Minimal wear to extremities. Atlas with small repairs to spine-ends. (2,= htitle),XII,491;(6, incl. htitle),516;(6, incl. htitle),562 pp. and 7 + 6 + 5 engraved plates (incl. 1 map), all with tissue-guards. Atlas volume (66 x 47 cm.): 4 pp. (incl. htitle) and 10 double-page folded maps and 6 engraved plates (landfalls - profiles). A fine clean copy, wide-margined. 1 leaf a bit brownspotted, 2 leaves a bit frayed in right margin, 2 leaves slightly brownspotted, 2 leaves with loss of a bit of lower corner. Atlas clean and fine, some minor marginal brownspots. First French edition of this classic work in geographical exploration, completing one of the most difficult surveys ever undertaken, that of the Pacific coast of North America, from the vicinity of San Francisco northward to present-day British Columbia. "This voyage became one of the most important ever made in the interests of geographical knowledge". (Hill).Sabin, 98441.Lada-Mocarski 55 (The original English edition).

Berlin, Vossischen Buchhandlung, 1791. 4to. Bound in 3 uniform contemp. hcalf. Riased bands, gilt spines. Tome-and titlelabels on spine with gilt lettering. Very light wear to spine ends. Slightly rubbed. Small stamps on foot of title-pages. Corners lightly bumped. X,130,302;(8),XXII,(2),314,(2);XVIII,74,380 pp. 4 large folded engraved maps and 27 engraved plates (some folding). Maps with closed tear at inner foldings. Scattered brownspots, mainly marginal. Occassionally some offsetting from plates. A few plates with light foxing and some with brownspots. In general fine, printed on good paper. First edition of this scarce and highly important work in the exploration of the north coasts of America. The work constitutes a wide-ranging source-book of important travels in Northwest America and Oceania, with works translated by Georg and Johann Reinhold Foster and supplied with comprehensive introductions and many additions. Sabin, 25126.

(Geneva), Henricus Stephanus (Estienne), H. Fugger (typogr.) 1562. 8vo. Near contemporary full calf with richly gilt spine. All edges of boards gilt. Wear to extremities and hinges, but overall tight and fine. Old owner's name to title-page and a stamp to blank margin ("Teres etque Rotundus")). A few early underlinings. Two leaves with a damp stain, otherwise unusually nice and clean. Title-page slightly soiled. Woodcut printer's device to title-page and woodcut initials. 288 pp. The very rare hugely influential first edition of one of the single most important printings in the history of Western thought, namely the very first appearance in print of any of Sextus Empiricus' works, his great "Hypotyposes". This seminal printing inaugurated a new era in the history of Western thought. Together with the second edition of the work (by Hervet, 1569, with which the "Adversos Mathematicos" also appeared), the first appearance of Sextus Empiricus' work profoundly influenced the thought of Bruno, Montaigne, Descartes, as well as many other pivotal thinkers of the modern era, and caused Sextus to be viewed as "the father of modern philosophy"."The printing of Sextus in the 1560s opened a new era in the history of scepticism, which had begun in the late fourth century BCE with the teachings of Pyrrho of Elis. [...] Before the Estienne and Hervet editions, Sextus seems to have had only two serious students, Gianfrancesco Pico at the turn of the century and Francesco Robortello about fifty years later." (Copenhaver & Schmitt, pp. 240-41). Apart from being of seminal importance to the development of modern thought, the work is of the utmost scarcity and constitutes one of the rarest of all Estienne books. "The first printed edition was by Henri Estienne (Stephanus) in 1562 of Sextus' "Hypotyposes". A second printed Latin edition of the "Hypotyposes" plus "Adversus Mathematicos" appeared in 1569. The text of the "Hypotyposes is that of Estienne, the translation of "Adversus Methematicos" was done by French counter-reformer and theologian, Gentian Hervet... The Greek text was not published until 1621 by the Chouet brothers." (Popkin, p. 18).Having been almost completely neglected throughout the entire Middle Ages and the early Renaissance, the first printing of Sextus' work in 1562 is almost solely responsible for the inauguration of a new skeptical era that came to profoundly influence almost all thinking of the centuries to follow. "As the only Greek Pyrrhonian sceptic whose works survived, he came to have a dramatic role in the formation of modern thought. The historical accident of the rediscovery of his works at precisely the moment when the skeptical problem of the criterion had been raised gave the ideas of Sextus a sudden and greater prominence than they had ever before or were ever to have again. Thus, Sextus, a recently discovered oddity, metamorphosed into "le divin Sexte", who, by the end of the seventeenth century, was regarded as the father of modern philosophy. Moreover, in the late sixteenth and seventeenth centuries, the effect of his thoughts upon the problem of the criterion stimulated a quest for certainty that gave rise to the new rationalism of René Descartes and the "constructive skepticism" of Pierre Gassendi and Martin Mersenne." (Popkin, p. 18).The discovery and dissemination of these foundational texts was nothing less than a epiphany. Scepticism was immediately absorbed into Renaissance thinking and quickly became a dominant strand of thought. "The revival of ancient philosophy was particularly dramatic in the case of scepticism. This critical and anti-dogmatic way of thinking was quite important in Antiquity, but in the Middle Ages its influence faded [...] when the works of Sextus and Diogenes were recovered and read alongside texts as familiar as Cicero's "Academia", a new energy stirred in philosophy; by Montaigne's time, scepticism was powerful enough to become a major force in the Renaissance heritage prepared for Descartes and his successors." (Copenhaver & Schmitt, pp. 17-18). "No discovery of the Renaissance remains livelier in modern philosophy than scepticism". (Copenhaver & Schmitt, p. 338). "The revived skepticism of Sextus Empiricus was the strongest single agent of disbelief". (ibid., p. 346). Our knowledge of ancient scepticism comes almost solely from Sextus, who is introduced to the Renaissance in 1562 with this first printing of any of his works. From then on, skepticism grew rapidly, determining the course of much modern thought."Ancient Scepticism had a number of followers in the renaissance, especially in the sixteenth century, when the writings of Sextus became more widely known. [...] Scepticism in matters of religion is by no means incompatible with religious faith, as the example of Augustine may show; consequently this position had many more followers during the sixteenth century than is usually realized. The chief expression of this sceptical ethics is found in some of the essays of Montaigne, and in the writings of his pupil, Pierre Charon." (Kristeller, p. 36).Adams: 1027. See:Kristeller: "Renaissance Thought II. Papers on Humanism and the Arts", 1965.Popkin: "The History of Scepticism. From Savonarola to Bayle", 2003.Copenhaver & Schmitt: "Renaissance Philosophy", 1992.

Halle, Johann Justinus Gebauer. 1744-1793 4to. Bound in 65 (Theil 48 in 3 volumes) nice contemporary full calf with raised bands and richly gilt spines. A few volumes have some wear to upper spines. With 58 frontispices, 124 engraved plates, and 103 engraved folded maps. Internally nice and clean. Brunet III: p. 233 - Graesse III: 309 (Both bibliographies erroneously state that the first part was printed in 1746.)

Florence, In officina Iuntaru, Barnardi Filiorum, 1560. Small folio. 18th century full vellum with gilt labels to spine. Wear to capitals and small worm tracts towrad opper hinges. Corners a bit bumped. A very nice and sturdy binding. Marbled edges. Some browspotting throughout. Small wormholes to blank margin of final leaf, far from affecting imprint. Woodcut vignette to title-page and to verso of colophon-leaf. (10), 308, (12) ff. The rare first edition of Vittore's main work, his great edition, translation, and commentary on Aristotle's Poetics, which is arguably the most important and influential commentary on the work ever published, profoundly shaping our understanding and interpretation of Aristotelian literary theory. Petrus Victorius (or Piero/ Pietro Vittore/Vettore) (1499-1584) is not only the “first great editor of the Poetics” (McMahon), he is also considered "the greatest Greek scholar of Italy" (Whibley), “the leading Italian scholar of his time” (Encycl. Britt.), “the last great figure [from that period] in the domain of Greek studies” (Willamowitz), and “the foremost representative of classical scholarship in [Italy] during the sixteenth century, which, for Italy at least, may well be called the “saeculum Victorianum”.” (Sandys). His magnum opus and without doubt most influential work is his edition with commentary of Aristotle’s Poetics, which is of seminal importance in several respects. It is crucial to our understanding of Aristotle’s great work, shaping the way that all later scholars have read it. The understanding of Aristotle’s work on poetry came to define the way that we have understood literature and fiction ever since the Renaissance, and Victorius is the leading interpreter. ““From the sixteenth century to Romanticism, European literary theory used the term marvel or wonder (It. meraviglia, ammirabile, Fr. merveille, Sp. maravilla) to designate everything that was on the conceptual margins of the poetics of probability and imitation. The discovery and complete reception of Aristotle’s Poetics between the fifteenth and sixteenth centuries resulted in the dissemination of an idea of poetry as the imitation of the actions of men, whose main part was the plot, or the structuring of actions ordered according to the laws of necessity, credibility and probability. This formed the basis of Neo-Aristotelian poetics, which determined the ways of thinking about literature and fiction for more than four centuries.” (Vega p. 280). Especially the idea of “wonder” in Aristotle’s Poetics came to be one of the founding ideas of modern literary theory. And especially here, Victurius’ reading is groundbreaking, playing a central part in the reception and understanding of the work over the centuries to come. “A single editorial decision in just one passage (and what is more, in a complex, fragmentary, unfinished text like the Poetics) affects the entire work…” (Vega, p. 284). “The text of the Poetics that can be read in the editions and translations of the sixteenth century and a large part of the seventeenth (with one exception, as we shall see [NB. This exception is Victorius] ) does not include the term alogon in the passage that deals with wonder. It does not appear in the first Greek edition, the famous Aldine princeps of 1508, or in the Latin translations of the end of the fifteenth century; it is not in the edition and translation by Alexander Paccius or Pazzi, the one most widely read in the sixteenth century, neither does it appear in the edition with commentary by Francesco Robortello, nor in Vincenzo Maggi’s Enarrationes, nor in the vernacular commentaries of Ludovico Castelvetro and Alessandro Piccolomini. What is more, a detailed revision of the history of the text reveals that no manuscript of the Poetics and no direct or indirect testimonies (not even in the Arabic branch of its transmission) have ever included the term alogon.” (Vega, p. 282). It is Victorius, who is solely responsible for the reading that is generally accepted today as well. “The moment when the idea of irrationality [alogon] appears for the first time in Aristotle’s text can be identified without hesitation as 1560, which is the date when the edition, translation and commentary on the Poetics by the philologist and Hellenist Pier Vettori, or Victorius, was printed on the presses of Giunti in Florence. Vettori is the one who first edits alogon, even though no testimony provides him with this reading, and he does so fully aware of his choice and its implications” (Vega, pp. 287-89). “The success of Victorius’ reading, while not immediate, was extraordinary.” (Vega, p. 287) Antonio Viperano accepts the reading “alogon”, with all it involves (De poetica libri tres), Ricciboni adapts it in his edition of Aristotle’s Poetics, Tasso embraces it (Discorsi dell’arte poetica, Discorsi del poema eroico), and it is implicit in Alonso López Pinciano’s Philosophia Antigua Poetica. Vossius in 17th century Germany makes abundant glosses on alogon in his books on poetics, and the commentators and translators of the “Poetics” in France preferred Victorius’ reading in every case. “Victorius’ conjecture seems to have convinced all editors and commentators, who reproduce it without question in every case.” (Vega, p. 289). The influence of Victorius’ interpretation of Aristotelian literary theory that he presented in his magnum opus (i.e. the present work) was not limited to the use of specific words that changed the reception history of Aristotle’s Poetics. His entire view of poetry through an interpretation of Aristotle was highly original and came to define the way we understand literature in general. Victorius was one of the first to put forth the belief that heroic poetry should present a Platonic idea of perfect virtue, contributing to the centuries long doctrine of the perfect hero as perfect exemplar, and he was one of the first to revive Aristotle’s idea of purgation from tragedy (still widespread today) and to also understand the existence of a purgation from poetry. “He viewed poetry as a moderator of minds “By reading poetry men “become moderate in temper and their turbid motions are extinguished.” Poems “purge our minds of blemish and spot”. Vettori realized that Aristotle’s reference to catharsis should be applied to tragedy alone, but he added that similar purgations could be achieved by other kinds of poetry, effective, however on other passions than pity and fear and with the aid of other instruments.” (Hathaway pp. 292-93). Apart from his overall interpretation of Aristotle’s literary theory and his groundbreaking reading of the most central passages of the Poetics, Victorius was also the first to determine that the Aristotelian text that has come down to us is not complete. “Victorius was the first to see that the treatise now known as the Poetics is only the surviving portion of a larger work.” (Bywater, p. XX). “during his lifetime five medals were struck in his [i.e. Victorius’] honour, and his portrait was painted by Titian… His fame was not limited to his own land, or his own time. His scrupulous care and unwearied industry are lauded by Turnebus, who declines to be compared with him, even for a moment; the epiteths doctissiums, optimus, and fidelissimus are applied to him by the younger and the greater of the two Scaligers, while Muretus calls him eruditorum coryphaeus; and similar eulogies might be quoted from Justus Lipsius,.. Dacius, … and Graevius. He is described as having climbed the “hill of virtue”, and taken his place on its summit between Cicero and Aristotle. In his funeral oration, Salviati says of him, in the personification of Italia: “Now no more shall distant peoples cross the snows of the Alps to see Victorius, or men of mark arrive from every land to hear him; or princes hold converse with him. Now no more shall the works of scholars in all parts of the world be sent here for his approval; or youth learn wisdom from his lips.” (Sandys, pp. 139-40). “[N]o one, said a contemporary of his in a funerary laudatio, ‘left Aristotle in a cleaner state (purgatior)’.” (Baldi). _____________________________________________ Adams: 1905; Brunet V: 1179; Graesse I: 213 (”édition excellente quant à la critique” and noting that some copies bear the dates 1563 and 1564). Sandys: A History of Classical Scholarship Vol. II, 2003, pp. 135-140. Hathaway, Baxter: The Age of Criticism: The Late Renaissance in Italy. Cornell University Press, 1962. A.Philip McMahon: On the Second Book of Aristotle's Poetics and the Source of Theophrastus' Definition of Tragedy Author(s). In: Harvard Studies in Classical Philology, 1917, Vol. 28 (1917), pp. 1-46. Christopher Rowe: Petrus Victorius and Aristotle’s Eudemian Ethics, Cambridge University Press online, 2025. Vega, Maria José: Wonder and the Irrational. The Invention of Aristotle’s Poetics in the Sixteenth Century. In: Nous, Polis, Nomos... (Berlin, Academia Verlag, 2016). Baldi: Il greco a Firenze e Pier Vettori (1499–1585), (Alessandria, 2014), 117.

Paris, Chez Didot, 1746-61 (Vols. 1-16) a. Amsterdam, Arkstée et Merkus, 1761 (Vol. 17) a. Paris, Rozet, 1768 (Vol. 18) a. Paris, Panckoucke, 1770 (Vol. 19). 4to. Bound in 19 uniform contemp. hcalf. Richly gilt spines. Titlelabels with gilt lettering. Spines a bit rubbed with light wear to the gilding. All spine-ends neathly repaired with matching leather. Stamps on half-titles. Engraved portrait of Prevost as frontispiece to volume 1. (The portrait with faint brownspots). In all more than 10.000 pp. and with 561 maps, plans and plates, of these ca. 250 engraved maps, many large and folding. A few plates inserted in a wrong volume, but all plates seems to be present in accordence with the listings of the plates. One leaf torn in volume 18, but all text preserved. Very few scattered brownspots. A few quires in one volume with light browning. No repairs to maps. All volumes printed on good paper. A clean and attractive set. The last volume (XX) was issued much later (1789) and is not present here. First edition of Prevost's important and impressive collection of explorations and travels, including most of the early American voyages and travels. The first 15 volumes were prepared by Prévost and the following volumes by other authors. The fine maps were done by Jacques-Nicolas Bellin.Sabin, 65402.

(USA), The North American Defense Command, 1960. Elephant Folio (765 x 515 mm). Large collection of photos with accompanying commentaries, in the custom made blue binding with gilt lettering to front board. 137 original monochrome photos (measuring 255 x 200 mm) pasted on to 40 leaves of paper documenting a month long trip to document the US Air Defense System from Copenhagen to New York, Washington, Chicago, San Francisco and, the main focus of the trip, Thule and Station Nord in the North of Greenland. Also inserted are two formal signed letters to chief editor of the Danish newspaper Fyns Tidende, Knud Madsen, 1) from Val Peterson, American Ambassador to Denmark, 2) from Laurence S. Kuter, U.S. Air Force general and Commander in Chief of NORAD. Both letters are thanking Knud for his time, for their close working relationship and for his understanding. Light wear to extremities and paper slightly browned in margin but otherwise in fine condition and all photos well preserved. Exceedingly rare photo album - curated by the North American Defense Command with personal signed letters by Val Peterson, American Ambassador to Denmark and Laurence S. Kuter, U.S. Air Force general and Commander in Chief of NORAD - depicting the Danish journalists' tour of the North American Defense Command in the summer of 1960. The album is of the utmost scarcity and was only presented to a select few of the participants of the tour. The present collection is a testament to one of the most controversial and disputed chapters in the Danish-North American relationship, namely that of Camp Century on Greenland; this includes installation of a portable nuclear reactor, the first of its kind, and eventually the creation of a vast network of nuclear missile launch sites – information only declassified in 1996. Furthermore, it is a fine example of US-military Cold War propaganda and it they sought to influence the public opinion in allied countries. In 1951, the United States and Denmark - both founding members of the North American Treaty Organization (NATO) - signed the Defense of Greenland Agreement. The treaty was intended “to negotiate arrangements under which armed forces of the parties to the North Atlantic Treaty Organization may make use of facilities in Greenland in defense of Greenland and the rest of the North Atlantic Treaty area.” More simply put, the agreement allowed the United States to build military bases in Greenland. Denmark and the US had signed a formal agreement granting America the right to maintain military bases in Greenland, but only in strictly defined areas, such as Thule Air Base in Northwest Greenland. They still needed approval from the Danish authorities for all activities outside these defence areas. In 1957, without informing the Danish Parliament, the Danish Prime Minister H. C. Hansen gave the Americans permission to store nuclear weapons at Thule AB. When the US Army constructed Camp Century, completely with its own transportable nuclear reactor, the Danish Government found itself in a tight corner. As news about Camp Century spread due to the army’s publicity campaign, the Danish authorities were forced to explain that there were no nukes in Greenland. The Danes had to either give in entirely to the American requests to deploy various nuclear weapons in Greenland, or take a firmer stand against the Americans. Denmark opted for the second solution. In recognition of the unfavourable public climate in Denmark, the US military issued a press campaign to provide better understanding of the need for military bases in the Artic. This was primarily done by inviting chief editors from the major Danish newspapers on a month long trip to the US; as is evident from the present photos, no expenses were spared. As ambassador Val Peterson wrote to Danish chief editor Knud Madsen in the accompanying letter:“From personal conversations with several participants in your tour, and from articles about the trip which already have appeared in the Danish press, I know that the various sponsoring agencies have done their utmost to make your visit instructive as well as pleasant. Above all, I am happy that you have had an opportunity to gain an insight in the vast effort made the the United States to safeguard the security of the free world and to maintain the peace, in close and cordial cooperation with our friends and Allies, Denmark prominently among them” And General Laurence S. Kuter: “We were delighted to have an opportunity to explain the important segments of our defense system to you – the NORAD Story. Denmark will continue to play a very important role in North American’s air and aerospace defenses in permitting important detection devices to be located in Greenland. Denmark is the only continental NATO power which provides such land-basing opportunity, which is essential for North America’s surveillance of the polar approach route. We hope, as a result of your visit, we now have a closer working relationship and understanding.” (From the accompanying letter). Over the next decade, the American military built three air bases in Greenland: Narssarsuaq, Sondestrom, and Thule. In context of the Cold War, these bases provided a refueling point and a base of operations for intermediate-range strategic bombers. Additionally, the United States deployed radar stations in Greenland to maintain a Ballistic Missile Early Warning System (BMEWS) and a Distant Early Warning (DEW) Line, which would give the United States advance warning of a Soviet nuclear attack. The Thule Air Base is the only of the three which is still operational today. Located less than 1,000 miles from the North Pole, it is the U.S. Air Force’s northernmost base. Construction on Camp Century began in June 1959 and was completed by October 1960. Army engineers first had to build a three mile road to bring the 6,000 tons of supplies it would require to build the $8 million facility. Most of the heavy equipment, including vehicles, were brought by bobsleds known as “heavy swings” which had a maximum speed of two miles per hour, making it a 70 hour trip from the Thule Air Base. The camp itself was not a secret. Officially, it was built for scientific purposes under the auspices of the Army Polar Research and Development Center. The Army even produced a short film promoting Camp Century as a “remote research community.” The facility did see some significant scientific discoveries, such as some of the first studies of ice cores, revealing geological secrets going back 100,000 years. Science, however was not the primary purpose of Camp Century. The facility was built primarily as a test for a military operation involving nuclear missiles. The U.S. Army continued to operate Camp Century in a limited capacity until 1966. Its tunnels quickly collapsed, and today the facility is unreachable, buried under a thick layer of ice. Project Iceworm remained a closely guarded secret until 1997, when the Danish Institute of International Affairs (DUPI) reported Camp Century’s military ambitions.

Sorøe, Jonas Lindgrens, 1772. 4to (260 x 214 mm). 2 volumes, uniformly bound in two nice contemporary half calf bindings with five raised bands and gilt title- and tome-labels to spines. Ex-libris (Hjalmar Hartmann) pasted on to pasted down front end-paper in both volumes. Previous owner's stamp (Hvedholm Castle) to upper part of title-page in both volumes and two small paper-labels (stating respectively 1592 and 1593 - indicating the booknumber in Hvedholm Castle's catalogue) to lower compartment on spines. A few leaves in vol. 1 with brown stripe in upper margin. An excellent and wide-margined copy. (12), 618 pp.; Pp. (2), 519-1042, (62), 20, (2) + 51 engraved plates (numered I-L, with 2 plates numbered XXX) and 1 large folded map. First edition of Olafsson’s landmark work, which is considered the foundation for all later researches on Iceland. The authors travelled around Iceland between the years 1752 and 1757 describing the geology, geography, zoology, botany, archaeology, mineralogy, etc. as well as the economic conditions - an expedition initiated by the Royal Danish Society. “His account is characterized by a certain independence from external references or foreign images; he points out differences and yet confers equal value. This emancipation from a world view that exalts uniformity and homogeneity rather than difference and alterity is demonstrated in the auto references Eggert uses. Instead of continuously comparing Iceland to Denmark or other “civilized” cultures, he compares one part of the island with another Icelandic region or the Icelandic status quo with the situation in the past.” (Schaer, From Hell to Homeland, Eggert Olafsson’s Reise igiennem Island and the Construction of Icelandic Identity). Unlike earlier travel accounts, Eggert structures his description in accordance with his actual travels. Thus, he does not give general statements about the land or the people, but he divides his work into four chapters which correspond to the four districts of the country and treats them according to his travels. The survey is generally characterized by a wish to note everything remarkable and does not discriminate between strange and easily-explainable phenomena.“In his detailed description of a natural environment profoundly different from the European one, Eggert does not in any way deny or dismiss the immense effect Icelandic nature must have had on the foreign visitor. But he discovers that discussion of hetero stereotypes, rather than adoption of these foreign views, is necessary to create an auto image. When examining the Icelandic glaciers on behalf of the Danish Academy of Sciences, he does not underestimate the impression these glaciers would have on a foreign spectator. He explicitly states that somebody who sees them for the first time in their life must be more impressed than the native Icelander. The intimidating effect of Icelandic nature thus becomes an attribute dependent on the recipient’s cultural background. Finally, Eggert states that one “does not need the poetic terms of speech of the older days to imagine those effects of nature.” (ibid., p. 101) It is neither necessary to stress the Icelandic nature’s intimidating and terrifying aspect nor to defend the glaciers variance from European or Danish nature by declaring them something more valuable, or even supernatural.” (Schaer, From Hell to Homeland, Eggert Olafsson’s Reise igiennem Island and the Construction of Icelandic Identity). In Iceland, Eggert Ólafsson is also known for his moralist poems, some of which even today enjoy considerable popularity, and he is still considered one of the earliest founders of Icelandic nationalism. The work was later translated into German, French and English. An appendix on Icelandic plants (Flora Islandica) by Johan Zoega is at the end of vol. II.Fiske I 439.Klose 598.Biblioteca Danica III, 613.Regarding the map see Hermansson: The Carthography of Iceland p. 53.

Paris, Mai 1917. Folio. Original illustrated extra wrappers (with a picture by Picasso on the front and the décor for "Baba Iaga" on the back); original illustrated wrappers for "Théatre du Chatelet" (drawing by André Marty on front, and advertisements on back) in grey and red; original illustrated coloured wrappers for "Programme des Ballets Russes" (front wrapper illustrated by Picasso with the Chinaman-costume from "Parade"). A bit of soiling to the extra-wrappers and small professional restorations to upper front cover and top of spine (this barely noticeable) as well as to blank margin of back wrapper. Apart from that, an excellent and very well perserved copy with only slight browning to some leaves. Apart from the described wrappers and extra-wrappers, there are, in all, 24 leaves with -mostly photographic- illustrations (four of them with original hand-colouring on top) and 6 leaves of text.With the original errata-leaf laid in loose, stating also that the illustrations "Femmes de bonne humeaur" and "Parade" have been hand-painted by Carlos Socrate, after the designs of Bakst and Picasso, and that the front wrapper for "Parade" (the Chinaman) has been handpainted by Picasso himself. Scarce original printing of this seminal avantgarde-publication, the May 1917 "Théatre du Chatelet"- publication that presents Diaghilev's "Ballets Russes" in Paris - here containing the entire separate publication mainly devoted to Jean Cocteau's groundbreaking ballet "Parade" - being one of the most important publications in the history of modern art. It is here, in his presentation-article to "Parade" that Apollinaire coins the term "surrealism" and thus lays the foundation for the seminal cultural movement that Bréton came to lead. Furthermore, the ballet "Parade" represents a historical collaboration between several of the leading artistic minds of the early twentieth century: Erik Satie, Jean Cocteau, Pablo Picasso, Léonide Massine, and Serge Diaghilev, and is famous, not only for its contents and its music, but also for its magnificent costumes designed by Picasso, the drawings of which are presented in the present publication for the first time - most famously the front cover for the "Parade"-programme, which depicts the "Costume de Chinois du ballet "PARADE"/ Aquarelle de Picasso", an etching with original, stunning pochoir-colouring (hand-painted by Picasso himself!).It is the 1917 ballet "Parade" - the first of the modern ballets - originally presented for the first time in the present publication, that marks Picasso's entry into the public and bourgeois institutions of ballet and theatre and presents Cubism on the stage for the first time. The present publication constitutes an outright revolution in the history of art, theatre, and ballet.Several variants of this spectacular publication exist, but the one we have here is as original and complete as it comes, containing the entire contents of the different variants. We not only have the extremely scarce and fragile dust-wrapper and the equally scarce illustrated coloured double-wrappers (front: "Peinture de Picasso"; back: Décor de Larionow pour le ballet "BABA IAGA""), but also the entire 1917 "Théatre du Chatelet"-programme (in original illustrated wrappers) with the entire separate "parade"-issue -also entitled "Programme des Ballets Russes"- (also in original illustrated wrappers), with more than 20 leaves of photographic illustrations containing pictures of the actors and actresses, also in their spectacular avant-garde-costumes, Bakst's portrait of Leonide Massine, Picasso's portrait of Stavinski, Bakst's portrait of Picasso, Picasso and Massine in the ruins of Pompei, Picasso's drawings of a scene from "Parade" and of Massine, as well as several (mostly humorous) advertisements. But more importantly, we have, apart from the above-mentioned famous Chinaman by Picasso, in original pochoir-colouring, the other famous etching by Picasso "Costume d'acrobate du ballet "Parade"/ Aquarelle de Picasso", also in original pochoir-colouring (bright blue), the seminal presentation-article by Apollinaire, which coins the term "surrealism" (see bottom of description for full translation of this groundbreaking preface), the two "Les Femmes de Bonne Humeur"-figures by Bakst, Constanza and Battista, printed and heightened in gold (pochoir), the printed costume by Larionow, "Les contes russes", which is with original bright red and blue pochoir-colouring, and the "Le Mendiant"-costume by Bakst for "Parade", and, of course, the texts by Bakst (on choreography and décor), Georges-Michel (Ballets Russes after the War), as well as the texts for the various ballets (listing the actors and their rôles as well as a resume of the plot). " "Tact in audacity consists in knowing how far we may go too far." Jean Cocteau, poet, writer, and arts advocate, made this statement in his 1918 manifesto, The Cock and Harlequin. Cocteau, in collaboration with Erik Satie and Pablo Picasso, discovered "how far" to "go too far" in the circus-like ballet Parade-one of the most revolutionary works of the twentieth century. Parade incorporates elements of popular entertainment and uses extra-musical sounds, such as the typewriter, lottery wheel, and pistol, combining them with the art of ballet. Cocteau wrote the scenario for the one-act ballet and contracted the other artists. Satie wrote the score to the ballet, first in a piano four-hands version and then in full orchestration, while Picasso designed the curtain, set, and costumes. Later, Léonide Massine, a dancer with the Ballet Russes, was brought in as the choreographer. Serge Diaghilev's Ballet Russes premiered the ballet Parade on May 18, 1917. The program notes for the ballet were written by the poet Apollinaire. They became a manifesto of l'esprit nouveau or "the new spirit" which was taking hold in Paris during the early twentieth-century. Apollinaire described the ballet Parade as "surrealistic," and in doing so created a term which would develop into an important artistic school." (Tracy A. Doyle, Erik Satie's ballet PARADE, p. 1).When the French poet and army officer Guillaume Apollinaire wrote the program notes For "Parade", he created the manifesto of the "l'esprit nouveau" - "the new spirit". Cocteau had called the ballet "realistic", but Apollinaire took it an important step further and described it as "surrealistic", thus coining a term that would soon develop into an important artistic movement. With Picasso, Apollinaire had established the aesthetic principals of Cubism and was considered a leader in the European avant-garde. ENGLISH TRANSLATION OF APOLLINAIRE'S PROGRAMME NOTES TO "PARADE": "Definitions of Parade are blossoming everywhere, like the lilac bushes of this tardy spring...It is a scenic poem transposed by the innovative musician Erik Satie into astonishingly expressive music, so clear and simple that it seems to reflect the marvelously lucid spirit of France. The cubist painter Picasso and the most daring of today's choreographers, Léonide Massine, have here consummately achieved, for the first time, that alliance between painting and dance, between the plastic and mimetic arts, that is a herald of the more comprehensive art to come. There is nothing paradoxical about this. The Ancients, in whose lives music played such an important role, were totally unaware of harmony, which constitutes the very basis of modern music. This new alliance - I say new, because until now scenery and costumes were linked only by factitious bonds - has given rise, in Parade, to a kind of surrealism, which I consider to be the point of departure for a whole series of Manifestations of the New Spirit that is making itself felt today and that will certainly appeal to our best minds. We may expect it to bring about profound changes in our arts and manners through universal joyfulness, for it is only natural, after all, that they keep pace with scientific and industrial progress. Having broken with the choreographic tradition cherished by those who used to be known, in Russia, under the strange name 'balletomanes', Massine has been careful not to yield to the temptation of pantomime. He has produced something totally new-a marvelously appealing kind of dance, so true, so lyrical, so human, and so joyful that it would even be capable (if it were worth the trouble) of illuminating the terrible black sun of Dürer's Melancholy. Jean Cocteau has called this a realistic ballet. Picasso's cubist costumes and scenery bear witness to the realism of his art. This realism - or this cubism, if you will - is the influence that has most stirred the arts over the past ten years. The costumes and scenery in Parade show clearly that its chief aim has been to draw the greatest possible amount of aesthetic emotion from objects. Attempts have often been made to return painting to its barest elements. In most of the Dutch painters, in Chardin, in the impressionists, one finds hardly anything but painting. Picasso goes further than any of them. This is clearly evident in Parade, a work in which one's initial astonishment is soon replaced by admiration. Here the aim is, above all, to express reality. However, the motif is not reproduced but represented-more precisely, it is not represented but rather suggested by means of an analytic synthesis that embraces all the visible elements of an object and, if possible, something else as well: an integral schematization that aims to reconcile contradictions by deliberately renouncing any attempt to render the immediate appearance of an object. Massine has Adapted himself astonishingly well to the discipline of Picasso's art. He has identified himself with it, and his art has become enriched with delightful inventions, such as the realistic steps of the horse in Parade, Formed by two dancers, one of whom does the steps of the forelegs and the other those of the hind legs. The fantastic constructions representing the gigantic and surprising features of The Managers, far from presenting an obstacle to Massine's imagination, have, one might say, served to give it a liberating impetus. All in all, Parade will change the ideas of a great many spectators. They will be surprised, that is certain; but in a most agreeable way, and charmed as well; Parade will reveal to them all the gracefulness of the Modern movements, a gracefulness they never suspected. A magnificent vaudeville Chinaman will make their imaginations soar; the American Girl cranking up her imaginary car will express the magic of their daily lives, whose wordless rites are celebrated with exquisite and astonishing agility by the acrobatin blue and white tights."

Leipzig und Wien, 1905. 8vo. Original printed wrappers. Uncut and unopened. In perfect condition in- as well as ex-ternally. (2), 83 pp. Housed in a full burgundy cloth box with gilt leather title to spine. Inside of box with the book plate of Pierre Bergé. Laid in is a typed letter from André Gide with a four-line handwritten and signed ("André Gide") note dated "22 Avril 39". Scarce first edition, in impeccable original condition and with an inlaid letter from André Gide, of one of Freud’s most significant works, his seminal Three Essays on the Theory of Sexuality. It is this groundbreaking - and to this day highly controversial - work that lays the foundation for the concepts of penis envy, castration anxiety, and the Oedipus complex, apart from defining the entire theory of childhood sexuality. Together with The Interpretation of Dreams, The Three Essays on the Theory of Sexuality (also sometimes translated as Three Contributions to the Theory of Sex) constitutes the most significant of Freud’s works. It is here that the founder of psychoanalysis advances his theory of sexuality, in particular its relation to childhood, a theory that came to permeate through all of his later writings and that came to define psychoanalysis for decades to come. The book covered three main areas that remain at the heart of Freudian psychoanalysis: sexual perversions, childhood sexuality, and puberty. Die Sexuelle Abirrungen ("The Sexual Aberrations"), the first essay, commences by distinguishing between the sexual object and the sexual aim and tries to define what is “normal” within sexuality – an endeavor that in itself has been the cause of much controversy. Die infantile Sexualität (Infantile Sexuality), the second essay, controversially argues that children have sexual urges, from which adult sexuality only gradually emerges via psychosexual development. Looking at children, Freud identified several forms of infantile sexual emotions, including thumb sucking, autoeroticism, and sibling rivalry. Freud’s descriptions of infantile sexuality were considered outright scandalous and it would be another decade before they were reconized as essential to the understanding of human behavior and development. Freud's discovery of infantile sexuality radically altered the perception of the child from one of idealized innocence to one of a person struggling to achieve control of his or her biological needs and make them acceptable to society through the influence of his or her caregivers (see Fonagay and Target 2003). In Die Ungestaltungen der Pubertät (The Transformations of Puberty), the third essay, Freud formalised the distinction between the “fore-pleasures” of infantile sexuality and the “end-pleasure” of sexual intercourse. He also demonstrated how the adolescent years consolidate sexual identity under the dominance of the genitals. Freud himself considered his “Three Essays” the epitome of his work, in which he linked his theory of the unconscious as put forward in The Interpretation of Dreams and his studies of hysteria by positing sexuality as the driving force of both neuroses (through repression) and perversion. Laid-in is a machine-written letter from André Gide, with a four-line handwritten note to top, signed in full by André Gide and dated 22 of April 1939, five months before Freud dies. The letter is an hommage to Freud, excpressing gratitude and admiration for "the great prospector, [who] freed himself from the shadows where many hideous ghosts and malevolent larvae lurked" (translation from French). We do not know who the recipient of the letter was, and though it seems to have been meant for publication, perhaps in a celebratory volume for Freud, it never was. It comes from the collection of Philippe Helaers and was displayed at the 2007 UNESCO exhibition "Are you a doctor, sir?", in the honour of Freund. "We learned of this beautiful letter from André Gide during the preparations for the exhibition, currently presented at Unesco: “Are you a doctor, sir? », organized in tribute to Sigmund Freud under the aegis of the School of the Freudian Cause.… Its owner, Mr Philippe Helaers, acquired it a few years ago in London, without the envelope which could have enlightened us as to its recipient. Was it James Strachey? Leonard Woolf? These are the most plausible hypotheses. The collection of tributes, in which it was to be published, never saw the light of day. Why ? We do not know. Did Freud read it? We don't know that either. In the quest to solve these conundrums, the Journal of André Gide is unfortunately of no help to us. The author of Terrestrial Foods – the only work by Gide listed in Freud’s library – always considered that he had practiced Freudianism without knowing it, in particular in his Corydon. In any case, the awe expressed in this letter clashes with the famous page of his diary, where he describes Freud as “an imbecile of genius”. That was, it is true, the day after his brief experience of psychoanalysis with Eugenia Sokolnicka. In Les Faux Monnayeurs, she is mentioned under the transparent pseudonym of Madame Sophroniska. The allusion to the unequal disciples of the master at the end of the 1939 letter is undoubtedly in allusion to this encounter." (Translated from French from Dans la cause freudienne 2007). André Gide (1869-1951) was a highly important French author, recipient of the Nobel Prize in Literature, considered "France's greatest contemporary man of letters" and "judged the greatest French writer of this century by the literary cognoscenti" (The New York Times). Gide's work centres around the reconciliation of freedom and empowerment with moralistic and puritan constraints. He continuously strives to towards intellectual honesty, and his self-exploratory texts are groundbreaking in their search of how to be fully oneself, including owning one's sexual nature, without at the same time betraying one's values. As a self-professed pederast, Freud's seminal "Three Essays on the Theory of Sexuality" played a dominant role in his quest to understanding and owning his sexual nature. G&M: 4983 ("Freud opened up a new territoryfor exploration - the unconscious mind. His studies of the sexual instinct explained the reasons for, and suggested the treatment of, various perversions and neurotic conditions").

Kiøbenhaffn, Mads Vingaard, Henrich Waldkirch, Hans Stockelmann, Niels Michelsen, 1595-1604. 4to. Indbundet i 10 - lidt senere - ensartede helldrbind med ophøjede bind på rygge. Rig rygforgyldning og forgyldte skindtitler. Enkelte bind med reparationer på kapitæler og false. Spredt bruning og brunpletter, specielt sidste bind "Den Geistlige Historie... 1604). Eksemplaret har interessante provenienser, i alle bind er inklæbet på forpermens inderside et kobberstukket våbenskjold "E:A:v.B" (von Bertouch, amtmand i Tønder og genealog (1745-1815)), senere til Jens Paludan Müller (biskop i Århus (1771-1845)) og siden som gave til sønnen, i 1830, Casper Paludan Müller (dansk historiker og professor (1805-82)). 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.

(Paris), Gallimard, (1949). Uncut and unopened in the orig. printed wrappers, excellent copy + original handwritten manuscript-leaf in ink, 2pp., 4to, for the pages 134-138 in the first edition, containing numerous corrections and emendations as well as a burnt hole from one of Sartre's cigarettes. The paper is watermarked "Herakles". Both items are placed in a very beautiful custom-made red full-morocco box, internally broadened to fit both items, w. single gilt line-borders to boards and back, beatifully gilt titles on back. The manuscript-fragment is placed in a red morocco-backed plastic-folder. First edition of this splendid and important novel, without doubt the best of the novel-cycle, one of three copies out of commerce printed on "vergé antique blanc", numbered "C". The manuscript-fragment greatly varies from the printed leaves, and is probably part of Sartre's very first notes to the manuscript, which were written several years before the publication of the work. The work was announced already in 1945 under the title "La Dernière Chance", and was supposed to appear in "Les Temps modernes" in November 1947, but because the work grew to great, Sartre let it become part three of the novel-cycle "Les chemins de la liberté", instead of setting free the characters in the already printed novels (I and II) and casting them as main characters in new independent novels. This work represents one of Sartre's best literary works, and in it he presents us with the existentialist moral sentiments that were philosophically outlined in his main philosophical work, L'être et le néant, but this time in literary form."Le volume - qui est sans doute le meilleur de la série - fut écrit en 1947-1948 en même temps, notons-le que l'ébauche de la morale de l'existentialisme promise à la fin de L'ÊTRE ET LE NÉANT. Le première partie couvre chronologiquement la période du 1 au 18 juin 1940 et se termine en laissant Mathieu dans une situation particulièrement despérée; la deuxième partie décrit le début de captivité d'un groupe de soldats francais qui comprend le militant communiste Brunet et un certain Schneider que l'on soupconne d'être un indicateur." (Contat & Rybalka, p. 207).The first edition of the work appeared in 2163 copies , out of which 8 were on "vergé antique blanc", numbered I-V and A-C (the last three being "hors commerce"), 105 were on "vélin pur fil Lafuma Navarre", numbered VI-CV and D-H (the last five being "hors commerce"), and 2.050 on "alfa Navarre", numbered 1-2050 (the last 50 being "hors commerce"). Contat & Rybalka 49/179.

(København, ca. 1805-08). 4to. Varierende bladstørrelser. Trykflade ca. 20x15 cm. Med 59 kobberstukne og håndkolorerede dragtplancher samt 6 tillægsplancher i tusch og akvarel. Alle med dansk og tysk tekst under billedet. Indlagt i bogæske af helshirt. Af største sjældenhed. Der udkom i alt 72 blade af denne, Danmarks første arbejde om vore nationaldragter, men en komplet serie kendes kun i ganske få eksemplarer - kun et eksemplar forefindes i offentlige biblioteker (UB, mens eksemplaret i KB ikke er fuldstændigt). Titlen kendes kun fra de 12 hefteomslag, som medfulgte udgivelsen, de er ikke til stede her. Rieter og Senn, som begge var født og uddannet i Schweitz, ankom til København i 1804, de gjorde dragtstudier på Sjælland, på Vesterhavsøerne og i Holsten. Serien af dragtplancher er opdelt i 2 afdelinger, den første viser københavnske (med Amager) og sjællandske dragter, mens den sidste gengiver sønderjydske (Holsten og de nordfrisiske øer). Denne sidste afdeling med ialt 37 plancher foreligger her komplet, og blev genudgivet 1909 af Karl Häberlin i "Volkstrachten der nordfriesischen Inseln". Rieter forlod København allerede i 1805, således måtte Senn fuldføre udgivelsen. Antageligt har Senn udført de fleste af tegningerne. De medfølgende 6 originale akvarel-plancher supplerer serien, således at den omfatter ialt 65. (Disse kopier fra Det 19.årh. har flg. numre hos Krohn: 13,17,23,32,34 og 35).An extremely scarce series of the first Danish work on National Costumes, only known in a few copies.Bibl. Danica II: 1080 (incomplete) - Colas: 2557 (only 56 plates). - Krohn: 873-944

Leipzig, Christoph Zunkel und (Bernhard Christoph Breitkopf), 1724-74. Folio. Bound in 8 nice hcalf, raised bands, gilt spine. Gilt lettering to spines. Pastiche-bindings, late19th century. Volume VII a. VIII in second edition (Neu aufgelegt, 1774). Some browning to textleaves in volume I. Minor scattered brownspots. Tear to lower right corner of halftitle in Vol. I, (repaired, no loss of text). With all 485 engraved plates. The "Theatrum" is one of the first encyclopedias of technology, being the most complete and the most extensively illustrated work on mechanical engineering published hitherto. Complete sets of Leupold's Theatrum are virtually never found and Ferguson stated in his bibliography of technology that he had never seen a complete set. - The lacking volume 10 is a supplement-volume.Collation: Bd. I. Theatrum Machinarum Generale-Schauplatz Des Grundes Mechanischer Wissenschaften. (20),240,(4) pp., 71 plates. - Bd. II. Theatrum Machinarum Hydrotechnicarum, Schau-Platz der Wasser-Bau-Kunst. (12),184,(4) pp., 51 plates. -Bd. III. Theatrum Machinarum Hydraulicarum-Tomus I, oder: Schau-Platz der Wasser-Künste. (16),172 pp. 53 plates. - Bd.IV. Theatrum Machinarum Hydraulicarum-Tomus II, oder: Schau-Platz der Wasser-Künste. (20),165,(3), 54 plates. - Bd. V. Theatrum Machinarum oder: Schau-Platz der Heb-Zeuge. (14),162 pp., 56 plates. - Bd. VI. Theatrum Statici sive Theatrum Staticum, das ist: Schau-Platz der Gewicht-Kunst und Waagen. Pars I-IV. (10),332,(4) pp., 57 plates. - Bd.VII. Theatrum Pontificiale oder Schau-Platz der Brücken und Brücken-Baues. Neu aufgelegt 1774. (16),153,(4) pp., 57 plates. - Bd. VIII. Theatrum Arithmetico et Geometricum das ist; Schau-Platz der Rechen-und Meß-Kunst. Neu aufgelegt, 1774. (10),200,(4) pp., 43 plates. - Bd. IX. Theatrum Machinarum Molarium das ist: Schau-Platz der Mühlen-Bau-Kunst. 2 Theile. (16),127,(7);(12),206,49,(3) pp., 43 plates.Poggendorff I,1438.

Berolini, Sander, 1801. 8vo. Bound in two contemporary diced calf, rebacked preserving old spines. LX, 584 pp. with 110 plates by J. F. Hennig, all but 18 handcoloured, 2 folding, a few printed in red or brown ink. Engraved and handcoloured frontispice by J. F. Hennig in second volume. The part of the text, which was unillustrated by the 110 plates, is in this copy supplemnted by the corresponding plates taken from Shaw and Nodder's "Naturalist's Miscellany" (in all 59 handcoloured plates). A few plates with annotations in pencil. Text with slight browning. Plates are in fine condition and excellent handcolouring. First and only edition. Scarce. Published with additions and corrections by Schneider after Bloch's death in 1799. The 110 plates were engraved by Johann Friedrich Hennig, who was one of the engravers on the "Ichthyologie, au histoire ... 1785-97". Nissen 419, BMC I: 176, not in Wood. Nissen & BMC do not mention the engraved frontispiece.