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(København, 1835-42). Folio. (32 x 24 cm.). Samtidigt hldrbd. med rig tidstypisk rygforgyldning. False fint restaurerede. (58) pp. med dansk-tysk paralelltekst samt 180 kobberstukne blomstertavler i pragtfuld original håndkolorering. Værket udkom med ialt 306 plancher samt tekst. De foreliggende tavler er numm. 91-270 med tekstblade til alle. Enkelte tavler med ganske lette brugsspor. Sidste tekstblad brunet. Originaltrykket af dette, vel nok det smukkest kolorerede danske blomsterværk. Værket er af største sjældenhed og blev kun trykt i et ganske begrænset oplag. Det ses derfor næsten aldrig i komplet stand. (Heller ikke i Oscar Davidsen's specialsamling, indeholdende illuminerede danske værker). Således anfører Carl Christensen i "Den Danske Botaniks Historie", Bd. 1, p. 212, at "de fleste Eksemplarer har færre tavler (færre end 306), f.Eks. det i K (Det kgl. Bibliotek) kun 204." - Walter var født i Ratzeburg 1799, var maler og kobberstikker, kom til København i 1817 og var en årrække opsynsmand ved den Kgl. Malerisamling. - "Medens Walters akademiske løbebane nærmest må kaldes mislykket, placerede han sig særdeles smukt som naturhistorisk tegner of stikker."(Weilbach).Nissen 2101. - Not in Pritzel. - Not in British Museum (NH). - De Belder, 379: "Of exceptional rarity, this edition is unrecorded in the catalogue of the British Museum (Natural History), Linean Society, Lindley Library, Kew and Massachusetts Horticultural Society. The attractive plates... are conservative in style and reminiscent in both design and colouring of the late eighteenth century."

Venetia [Venice], apresso gli heredi di S. Gagliani, 1590. [Colophon: In Vintia, appresso Giorgio Angelieri, a instantia de gli heredi di Simon Gagliani de Karera, 1590]. Small folio. 18th century (ab. 1780-90) half vellum with gilt leather title label to spine. Corners a bit bumped and title label a bit worn, otherwise nice and tight. A very nice copy, on thick, crisp paper. A few quires browned and brownspotted, and some occasional lighter browning. Four leaves with a marginal worm-tract, far from affecting text. Beautiful engraved title-page, consisting of a wide architectural border illustrated with large figures, putti, globes, and various symbols. Beautiful large woodcut initials and head- and tail-pieces. 47 half-page engraved maps in the text (by Porro, of islands and continents), excellent, crisp impressions. Large woodcut device to colophon. (12) ff., 201, (1) pp. Third, much enlarged edition (with 47 maps as opposed to the mere 30 of the first edition) of Porcacchi's great book of islands, arguably the most famous of all "isolario"s, with the 47 finely engraved maps by the famous map-maker Girolamo Porro, which also include maps of non-insular places, e.g North America and Mexico City, the famous city plan of Venice and that of Constantinople. Porcachhi's great "isolario" represents the culmination of the "book of islands"-genre, both in regards to artistic quality and the information provided. It furthermore constitutes a main work in the history of the published knowledge of farther parts of the world and an important link in the development from what we call the "book of islands" to the modern atlas. As such it is of great value in several respects, both historically, culturally, and cartographically. "The "book of islands," or isolario, a novel form of cartographic book combining maps and narrative-historical chorography, was invented and initially developed in Italy during the fifteenth and sixteenth centuries. According to R.A. Skelton, "like the portolano, or pilot-book, to which it was related, it had its origins in the Mediterranean, as an illustrated guide for travelers in the Aegean Archipelago and the Levant.". The first "book of islands" was authored by a Florentine ecclesiastic [around 1420] named Cristoforo Buondelmonti [...].The "book of islands" was eventually superseded as a cartographic genre, as was the "Geographia" of Ptolemy, by the modern atlas; it persists even after Abraham Ortelius's 1570 "Theatrum orbis terrarium", but at the margins rather than at the center of the history of cartography. While the "isolario", Ptolemy's "Geographia", and the "modern" atlas coexist for some time, the gradual eclipse of the "book of islands" at one level reflected a progressive decentering of the Mediterranean that occurred within the broader context of early modern history, following the Atlantic discoveries. But well before that happened, in conjunction with the culminating moment of the discoveries and exploration period and at the height of the high Renaissance, the second printed "book of islands" appeared in 1528 in Venice published by Zoppino: the "Libro di Benedetto Bordone nel qual si ragiona de tutte l'isole del mondo" [Book of Benedetto Bordone in which are discussed all the islands of the world]. As the title suggests, this "isolario" provided even broader coverage than the Martellus recensions of Buondelmonti and gave special prominence to the islands of the New World [...].Da li Sonetti's translation of Buondelmonti's "book of islands" into a cycle of sonnets in Venice represented in its way an expression of the same desire to reconcile contemporary geographical knowledge to Italian vernacular traditions of geographical poetry that Berlinghieri's poetic Ptolemy expressed. But while the tradition of Tuscan geographical poetry would not survive the Quattrocento, the prose book of islands did, thanks especially to the Venetian print culture that was responsible for da li Sonetti and that produced Bordone's High Renaissance print "isolario". As mentioned, the print genre "book of islands" would endure in fact, albeit at the margins of modern cartography and literature, in multiple editions of Bordone, which were followed by the no less successful Tommaso Porcacchi's "L'isole più famose del mondo" (1572; with copper-plate engravings), a line that continued through the seventeenth century [...] But just as with other major literary fields of endeavor including the political (Machiavelli), the pastoral (Sannazzaro), the courtly-bureaucratic (Castiglione), and the epic-novellistic (Ariosto), the "isolario" produced its masterpieces in the discoveries and travel writing field(alongside Columbus, Vespucci, and Verrazzano) during the High Renaissance." (Cachey, "From the Mediterranean to the World: A Note on the Italian "Book of Islands" ("isolario")", pp. 1-10). Shirley T.POR-1d; Phillips: 50.

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.

Lugduni Batavorum (Leiden), Ex Officina Elzeviriorum, 1655. Folio. 18th century full calf with gilt spine. Gilding worn and some overall wear to boards, but fine and tight. Capitals restored. Internally very nice and clean, with just a bit of light brownspotting to the first and last leaves (dedication and index). Generally unusally nice, clean, and crisp. A small discreet stamp (Doublette der L.U. Bibl. Erl.) to title-page and a neat contemporary owner's inscription. Good margins. Bound without the portrait, which is often the case. Otherwise complete, with the magnificent double-page engaved plate showing the interior of the museum by Wingendorp, 11 beautiful engraved illustrations (one of which consisting in two illustrations), two of which are full-page (one being the famous one of the horn), and numerous lovely, and elaborate woodcut illustrations in the text. Woodcut title-vignette, woodcut vignettes and initials. Title-page, (4) pp. of dedication, (6) pp. of preface and index, double-page plate, 389, 3 (index) pp. A lovely copy, rarely seen in such nice condition. The scarce first edition of this monumental work in early modern museum literature, constituting the catalogue of the first Danish museum and one of the most important cabinets of curiosities in Europe. The magnificent double-page engraved plate depicting the interior and outlay of the museum is one of the most well known and famous illustrations from any "Wunderkammer"-book, iconographically summizing what we understand by the genre.The Museum Wormianum was filled with preserved animals, horns, tusks, skeletons, minerals, as well as various man-made objects that Worm found equally fascinating and interesting, either due to their age, their beauty, the wonder of their execution, their being exotic, etc., many of them depicted here in the finest manner. The text of the "Museum Wormianum" is divided into four books, the first three dealing with minerals, plants, and animals respectively. The fourth comprises man-made objects, e.g. archeological and ethnographical items, coins and some original works of art. This, Worm's magnum opus, is not merely a catalogue of the numerous wondrous items in the collection, however, it is a scientifically based scholarly work that also contains references to, and quotations from, other writers. The famous Danish doctor, Ole Worm (1588-1654), who was professor of medicine throughout the last thirty years of his life, had become professor of physics in 1621. Already the year before, in 1620, had he begun the famous collection that would become one of the greatest cabinets of curiosites in Europe (and one of the first museums) and which would earn him the position as the first great systematic collector (within natural history) in Scandinavia. It was his then newly begun collection that enabled him, as professor of physics, to introduce demonstrative subject teaching at the university, as something completely new. He continued building and adding to his magnificent collection, now known as "Museum Wormianum", throughout the rest of his life. Worm used his collection, not only in his teaching (for which he was famous), but also as a starting point for his speculations on philosophy, science, natural history, etc. He is responsible for many great discoveries, e.g. for identifying the narwhal's tusk as coming from a whale rather than a unicorn, as was generally believed at the time. As was also the case with other great cabinets of curiosities, the "Museum Wormianum" greatly served scientific advancement, not least when the images of its content were printed, as they were here, in 1655.As Worm visited other famous cabinets of curiosities, so many foreign visitors came to see his, which was famous throughout Europe. After his death, the collection was bought by the Danish King, Frederik III, and was thus included in Det Kongelige Kunstkammer (The Royal Art Chamber). The collection is now in Statens Naturhistoriske Museum (Natural History Museum), which in November 2011 famously reprodced the "Museum Wormianum", from what they could see it looked like on the great double-page plate in the fabulous catalogue, as a permanent exhibition. The magnificent folio catalogue of the collection was edited and seen through press by Worm's son Willum and was published by the Elzeviers. Willems 772; Paul Grinke: From Wunderkammer to Museum: no. 75.

London, Taylor and Co., 1804. - Atlas: (Paris, Didot, 1802). 4to (30x24 cm.) and folio (54x42 cm.). Two contemporary half calf. Gilt spines and titlelabels with gilt lettering. Spines a bit rubbed. XVI,198,(2);(2),131,(8) pp. Wide-margined. A few scattered brownspots. Atlas-volume, bound in contemporary half calf with wear to spine and spine-end as well as corners, is complete and contains 143 engraved plates (numb. 1-141 + 20bis a. 54bis), some large and folded. The plates with views, antiquities, architecture, maps etc. etc. A few scattered brownspots, some plates with faint marginal dampstaining. Scarce first complete work in English of Denon's magnificent travel to Egypt, accompanied by the original French atlas of 1802 - not to be confused with the English translation of 1802, which reduced the plates to 60 instead of 140. "The object, therefore, of the present translation is to amend this defect (i.e. the reduction of the plates), and supply the reader with these celebrated Travels as they were published by M. Denon himself, consisting of one hundred and forty Copper-plate Prints (the fac-similes of his own original designs), with the different notes and illustrations, - and corrected from the last French edition, in which many improvements have been made." (The translator's advertisement). "Dominique-Vivant Denon was a lover of the Empress Josephine, a compulsive collector, the first director of the Louvre museum and Bonaparte's adviser on artistic matters. Indeed, Denon was known as 'Napoleon's eye'. But the man who impressed the emperor with his courteous manners and his talent for pornographic drawing was also the primary force behind revealing Egypt's civilisation to an astonished Europe. Invited to accompany Bonaparte during the French Expedition to Egypt - a staging post in Napoleon's campaign to wrest India from the British - Denon was forcibly struck by Egypt's architecture. With often only a few minutes to record the scene before him, he would sketch under fire. On one occasion he worked for sixteen hours, while the windblown sand caused his eyelids to bleed. Upon his return to France, Denon published "Travels in Upper and Lower Egypt". His insightful and deeply humane volume became an instant bestseller. Hitherto no one had suspected that Egypt's rich and mature civilisation existed... Denon was the first to present to Europe a true and honest image of ancient Egypt and the first European traveller to spend months exploring the desert and recording the monuments he found there." (Terence M. Russel, Discovery of Egypt). Denon had been invited by Napoleon to join the expedition to Egypt as part of the arts and literature section of the Institut d'Égypte and thus found the opportunity of gathering the materials for this, his most important literary and artistic work. He accompanied General Desaix to Upper Egypt, and made numerous sketches of the monuments of ancient art, sometimes under the very fire of the enemy. Denon was thus the first artist to discover and draw the temples and ruins at Thebes, Esna, Edfu, and Philae. Up until that time, most of the known Egyptian antiquities were pyramids and scattered pieces of sculptures and stelae. The results of Denon's efforts were published in this truly splendid work "Journey in Lower and Upper Egypt", originally appearing in French in 1802. The work crowned his reputation both as an archaeologist and as an artist, and sparked the Egyptian Revival in architecture and decorative arts.

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.

[On the final colophon:] Venice, Bartholomeus de de Zanis for Octavianus Scotus, 1499. [at the end of first leaf and of each section: Vale. Venetiis. 1480, except for the second last (de Insoniis, which says: Vale. Venetiis. 1478). Small folio. Nice, elegant late 18th century half calf. Binding with a few traces of wear. A very nice, clean, and fresh copy with just a bit of light dampstaining to upper margin of about 20 leaves. Numerous pretty, woodcut initials throughout. Woodcut printer's devise to colophon. Last leaves with tiny, barely noticeable wormhole. Contemporary handwritten inscription to title-page: "Ex libris advocati Dunis = 1480". (1), 115 ff. (pagination erroneous at end: 113, 116, 114). Without final blank. The very rare second printing of Ermolao Barbaro's seminal Latin translation of Themistios' paraphrases of Aristotle's "Posterior Analytics", "Physics", "De Anima", "On Memory", and "On Dreams", a groundbreaking key text of the Renaissance, "which opened a new period in the interpretation of the Greek philosopher [i.e. Aristotle]" (Lohr, p. 25). The work was partly responsible for the development of Renaissance Aristotelianism and thus Renaissance thought in general. The combination of the fact that we here have the paraphrases by one of the greatest ancient Greek commentators of the key texts of the most significant philosopher of all times, rendered into Latin by perhaps the most significant translator of the period and printed at the most crucial time for the development of early modern thought, makes this one of the most significant philosophical publications of the Renaissance. There can be no doubt as to the influence that the present publication came to have on the development Renaissance philosophy. "The publication of Barbaro's translation of Themistius inaugurated a new period in the study of Aristotelian philosophy. In his version of Themistius' "Paraphrases" we encounter not simply a translation occasioned by contemporary controversies, as was often the case in the Middle Ages. Rather, Barbaro's version brings together a corpus of the commentaries of Themistius on Aristotelian philosophy: the "Posterior Analytis", "Physics", "De anima" and "Parva naturalia". (Lohr, p. 26).The first printing of the work appeared in 1480 (the same year stated at the end of each section in the present edition), and in 1499 this second printing appeared. Both printings are of the utmost scarcity and almost impossible to find. After these two incunable-editions, at least 9 new printings appeared before 1560, bearing witness to the great impact of the text, and in 1570 Hieronymus Scotos printed a new edition. "With reference to those works of Aristotle which were and remained the center of instruction in logic and natural philosophy [i.e. The Posterior Analytics, Physics, etc.], the most important changes derived from the fact that the works of the ancient Greek commentators became completely available in Latin between the late fifteenth and the end of the sixteenth centuries and were more and more used to balance the interpretations of the medieval Arabic and Latin commentators. The Middle ages had known their works only in a very limited selection or through quotations in Averroes. Ermolao Barbaro's complete translation of Themistius and Girolamo Donato's version of Alexander's "De Anima" were among the most important ones in a long line of others. When modern historians speak of Alexandrism as a current within Renaissance Aristotelianism that was opposed to Averroism, they are justified in part by the fact that the Greek commentators, that is, Alexander and also Themistius, Simplicius, and many others, were increasingly drawn upon for the exposition of Aristotle." (Kristeller, p. 45)."Equally important [as the recovery of Aristotle's "Mechanics" and "Poetics"] for the continued growth of the Peripatetic synthesis was the recovery and diffusion of the Greek commentaries on Aristotle... The most important of the two dozen commentators were Alexander of Aphrodisias, Ammonius, Simplicius, Themistius, and John Philoponus. Of these five, only Alexander and Themistius were Aristotelians..." (Copenhaver & Schmitt, p.68).Already in the Middle Ages, scholars had been aware of and used commentaries on and paraphrases of the key texts of Aristotle, but their knowledge of this was primarily based on some Latin translations and allusions, fragments, and summaries in the writings of the Muslim philosophers, e.g. Averroes. But with the emergence and translations into Latin of the ancient Greek commentators [Alexander and Themistios being the primary ones] and their paraphrases of Aristotle's texts, the Renaissance came to discover an Aristotle that would influence almost all thought of the period. The ancient Greek commentators not only had a much more thorough knowledge of classical Greek thought than would have been possible for a medieval writer, but they also had access to works that were later lost and through these ancient commentators rediscovered in the Renaissance. By the middle of the 16th century, almost all of these texts had been printed in both Greek and Latin, and these publications were of the utmost importance to the development of almost all Renaissance thought. "Their recovery, publication, and translation took some time, but almost all circulated in Greek and Latin by the 1530'ies. They do not cover all of Aristotle, but several treat such key texts as the "Organon", the "Physics", and "De anima", thus making them useful ammunition in such controversies as the immortality dispute provoked by Pietro Pomponazzi and his colleagues." (Copenhaver & Schmitt, p. 69).Among the most important texts in this tradition that influenced all thought of the era, were Themistios' paraphrases of Aristotle's seminal texts, in particular "De Anima", "Posterior Analytics", and Book Lambda (XII) of the "Metaphysics". "We possess part of his [Themistios'] early work, his "Paraphrases of Aristotle", the portion still extant being a somewhat prolix exposition of the "Later Analytics", the "Physics", the "De Anima", and some minor treatises." His paraphrase of the "Metaphysics", Book "lambda" [i.e. XII], was translated into Arabic (in century IX), and hence into Hebrew (1255), and Latin (1576)." (Sandys, I:352).There can be no doubt about the groundbreaking character of Hermolao Barbaro's translation into Latin of almost all of Themistios' paraphrases of Aristotelian texts. Not only was Themistios considered one of the most important renderers of Aristotle's text, but Barbaro was perhaps the most influential translator of the time. His translation of Themistios' paraphrases came to dominate, directly or indirectly, almost all Aristotelian thought of the high Renaissance (from late 15th century) and he was responsible for many of the most important and influential positions on the seminal question of the immortality of the soul that dominated philosophical thought at the time. "Through the first two-thirds of the fifteenth century, Pomponazzi's predecessors at Padua seem not to have used the ancient commentators, but philosophers of the next generation - most notably Nicoletto Vernia and Agosto Nifo - began to consult them in new translations by Ermolao Barbaro and others. Barbaro's charge that Averroes had lifted his doctrines of the soul from the commentators surely helped excite interest in them." (Copenhaver & Schmitt p. 69). See: Kristeller, Renaissance Thought and its Sources, 1979; Copenhaver & Schmitt, Renaissance Philosophy, 1992; Charles C. Lohr, "Latin Translations of the Greek Commentaries on Aristotle", in: Humanism and Early Modern Philosophy, Edt. byKraye and Stone, 2000.Graesse VII:112 (erroneously stating 1491 in stead of 1499); Brunet V:778; Hain-Copinger: 15464.

Argentinae (i.e Strassburg], Lazarus Zetzner, 1598. 8vo. Very nice 19th century half calf with richly gilt spine. Some browning and spotting, but overall a nice copy. Many woodcut diagrams in the text. Woodcut printer's device to title-page. (24), 992, (32) pp. Scarce first edition of this seminal publication, which is practically solely responsible for the spreading of both Lullism and Bruno's mnemonic theories in the 17th century. This publication constitutes the standard work on Lull for more than a century and it directly influenced the most significant thinkers of the following century, e.g. Leibnitz, whose dream of a universal algebra was stimulated by the reading of Lull (and Bruno) in the present publication."In 1598, while the philosopher from Nola (i.e. Bruno) was in prison in Rome, Johann Heinrich Alsted together with the printer Lazarus Zetzner in Strasburg, published a great collection of the works by Raymond Lull and the most significant commentaries on Lullism, among them also some treatises by Bruno. Since then, Bruno's mnemonics was a basic component of all attempts made in the seventeenth century to set up a universal science on the basis of a theory of combinations interpreted in terms of Neo-Platonism... It was also Leibniz who was one of the first to assume similarities between Bruno's theory of the infinite and the Cartesian theory of vortices in an undetermined and infinite universe; Leibniz had had the opportunity to read these treatises in his capacity as librarian of the Herzog August Library in Wolfenbüttel". (Blum, p. 110). "From another of Pierce's Lists we know that he possessed an important collection of Lullian and Lullist texts, namely the Renaissance edition by the famous Strasbourg editor Lazarus Zetzner: "Raymundi Lulli Opera ea quae ad adinventam ab ipso Artem universalem... pertinent" (printed first in 1598, then 1609, 1617 and, by his heirs, in 1651). This edition, which was very influential - the young Leibniz, for instance, acquainted himself with Llull through this anthology-, contains several works by Llull himself as well as those Renaissance commentaries on his works by Agrippa of Netteshein, Giordano Bruno..." (Fidora, p. 181).This highly influential publication of Lull's "Opera" through which Leibniz and many of his contemporaries got acquainted with Lull and Bruno, contains seven genuine works by Lull (including the two most important works of the last period of the Art, the "Ars brevis" and the "Ars magna"), four works falsely attributed to Lull, Agrippa's "In Artem Brevem" - and Bruno's four highly important commentaries on Lull, being the "De Lulliano specierum scrutinio" (pp. 685-97), "De Lampade combinatoria Lulliana" (pp. 698-755), "De Progressu Logicae venationis" (pp. 756-62) and "De Lampade venatoria logicurum" (pp. 763-806), which constitute Bruno's most important logical treatises and his seminal writings on mnemonics. The four treatises originally appeared separately in 1587 and 1588 respectively, and all appear here for the second time (apart from the "De progressu", which also appeared together with the first printing of the "De Lampade venatoria logicorum" the following year and here thus appears for the third time). The first printings of these works are of impossible scarcity and hardly obtainable. These four groundbreaking works appear together for the first time in the present publication and it is through this second printing of them that 17th century thinkers such as Leibniz got acquainted with them. Raymond Lull (ca. 1232-1315) was one of the most important and influential philosophers and logicians of his time. He is considered a pioneer of several fields of science, now most notably computation theory. His works sparked Leibniz' interest in the field and drove him to his seminal invention. Lull invented an "art of finding truth" (often in Lullism referred to as "The Art"), which centuries later, when read in the present publication, stimulated Leibnitz' dream of a universal algebra. Lull applied this art to basically all subjects studied at the Medieval Universities. "Lull's metaphysics worked a revolution in the history of philosophy" (The Cambridge History of Renaissance Philosophy, p. 548). Giordano Bruno (1548-1600) is one of the most significant thinkers of modern times. He prepared the way for the rise of modern philosophy and became a forerunner of modern philosophy and science. His logical commentaries and mnemonic treatises were of special importance to the emerging logic of the 17th century and it is his version of Lullism that comes to dominate this significant strand of thought for more than a century. Having been arrested in 1592 due to alleged heresy, Bruno was subjected to a 6 year long trial that finally condemned him to hanging in 1600, two years after the publication of the four works that came to secure his influence over the following century. "Bruno burned for philosophy; he was killed for moral, physical, and metaphysical views that terrified and angered authorities." (Copenhaver & Schmitt, p. 315)."By far the greatest figure of this generation was Giordano Bruno (1548-1600), whose interest in Llull dates almost exclusively from his sojurns in France and Germany. His activities in this field, which he combined with his other aspects of Reniassance philosophy, are too complex to be treated in any detail here. Suffice it to say with Frances Yates that "the three strands of the Hermetism, the mnemonics, the Lullism are all interwoven in Bruno's complex personality, mind and mission"..."Perhaps the most important event of Lulliasm of this period was not the appearance of any new figure or work but the publication of an anthology by Lazarus Zetzner of Strasburg, entitled "Raymundi Lullii, opera ea quae ad adinventam ab ipso Artem universalem", which, for the next century or so, was to become the standard work on Llull. It is therefore instructive in understanding seventeenth-century Lullism... The first edition of this anthology appeared in Strasburg in 1598. It was reprinted in 1609... reprinted in 1617 and again in 1651... This mixture of Llull, pseudo-Llull, and Renaissance commentaries, emphasizing a general art of discourse, constituted the "package" in which Llull was presented to seventeenth-century readers, including Leibniz (note 33: it was apparently the first edition of 1598 that Leibniz read), and it must be kept in mind when discussing their version of Llull." (Bonner, pp. 67-68). Bruno's works, the first editions of which are all of the utmost scarcity, were generally not reprinted in Bruno's lifetime and new editions of them did not begin appearing until the 19th century. For three centuries his works had been hidden away in libraries, where only few people had access to them. One very significant exception is the four treatises that we find in the present publication. They are among the only of Bruno's treatises to be published again before the 19th century, and as they don't appear again on their own, but here, in THE most important publication of Lull's writings for more than a century, it is through this second printing of these four works that Bruno comes to have his primary influence upon 17th century philosophy and science. His separate publications were simply not accessible to thinkers like Leibniz and could thus not be studied. Also therefore, Zetzners' 1598 publication of Lull and Bruno together proved to be of seminal importance, not only to the spreading of Lullism, but just as much to the spreading of Bruno's even more important theories. "Raymond Lull (ab. 1232 - 1315), Majorcan writer, philosopher, memorycian (he was later to become a great source of inspiration for Giordano Bruno), logician, and a Franciscan tertiary. He wrote the first major work of Catalan literature. Recently-surfaced manuscripts show him to have anticipated by several centuries prominent work on elections theory. He is sometimes considered a pioneer of computation theory, especially given his influence on Gottfried Leibniz. He is also well known also as a glossator of Roman Law. Lull taught himself Arabic with the help from a slave. As a result, he wrote his "Ars Magna", which was intended to show the necessary reasons for the Christian faith. To promote his theory and test its effectiveness, he went to Algiers and Tunis. At the age of 82, in 1314, Lull traveled again to North Africa, where an angry crowd of Muslims stoned him in the city of Bougie. Genoese merchants took him back to Mallorca, where he died at home in Palma the following year.". (Thorndyke)Giordano Bruno was born in Nola in Southern Italy in 1548, and entered the Dominican order in Naples at the age of 18. While pursuing theological studies, he also thoroughly studied the ancient philosophers and began doubting some of the teachings of the Catholic Church. When he was in Rome in 1576, these doubts became known to the authorities of his order, and an indictment for heresy was prepared against him. Before he could be arrested, he escaped and began a long journey which took him to many European countries, among these England, where his most important works are published, until in 1592 he was denounced to the Inquisition and arrested. In 1593 he was taken to Rome, imprisoned, and subjected to a 6 year long trial. He firmly refused to recant his philosophical opinions, and in 1600 he was condemned for heresy, sentenced to death, and burned alive.SALVESTRINI NR. 1.See:Anthony Bonner: Doctor Illuminatus. A Ramon Llull Reader, 1993.Paul Richard Blum: Giordano Bruno. An Introduction, 2012.The Cambridge History of Renaissance Philosophy.Alexander Fidora: Peirce's Account of the Categories and Ramon Llull.

Lahde, (1806 - ca. 1814) + (ca. 1818-20 for the final three plates). Small folio (binding: 31,7 x 20,6 cm). Bound in an elegant pastiche half calf by Anker Kyster, with lovely gilt spine, old marbled paper boards and beautiful hand-made patterned end-papers. Bound with four of the exceedingly scarce title-pages/front wrappers for issues one, one/two three, and five, stating which plates were in the issue in question. Complete with all 34 magnificent engraved plates of costumes, all on large, good paper and in exquisite, precise original handcolouring. Most of the leaves measure 31 x 20,2 cm, one (En Brand Officer) measures 28x19,5. At the end are withbound the three final plates that were issued a bit later, with the complete ediiton of 1820. Thus making the final plate count 37. The three final plates all measure 28x20 cm. The two first plates have been neatly restored at upper right corner, far from affecting image. Otherwise, the copy is in magnificent condition. With the ex-libris of Oskar Davidsen to verso of front free end-paper. The exceedingly scarce first edition of Senn and Lahde’s (with the possible collaboration of Eckersberg) magnificent ”Klædedragter i Kjøbenhavn” (Costumes in Copenhagen), which is the first work devoted to costumes of the Danish capital and thus of seminal historical importance to the understanding of Copenhagen folklore at the brink of the golden age. The magnificent plates are of unusually high quality and differ from those of other works of this kind in being more artistically ambitious. The plates show attempts at depicting action and movement and portraying a certain situation. They are much less stiff than other costume plates of the period, and the features of the persons in the pictures show an intentional individualization. In short, they are much more closely related to the genre painting than would be expected. This highly important and extensive collection of Copenhagen costumes was made in Denmark, by foreigners and with an international aim. The Swiss painter and engraver Johannes Senn (1780-1861) spent 15 years in Denmark, from 1804 till 1819, and the German-born Gerhard Ludvig Lahde (1765-1833) came to Copenhagen in 1787 in order to attend the Art Academy and later became a Danish citizen. The two artists find themselves at the beginning of a period, in which national feeling, the strengthened sense of nationality, and a romantic view of nature are rapidly growing; a period in which the interest in “common” man and the people of a nation are becoming the centre of attention. Out of this grows the need to represent the people, the “real” population, to the rest of the world and to claim a specific sense of what it is to be, in this case, a Copenhagener. “Klædedragter i Kjøbenhavn” began appearing in 1806, and we know that by 1810, three issues with six plates in each (i.e. 18 plates) had appeared. The following three issues appeared shortly after, though not all containing six plates (the fifth issue, as is evident from the exceedingly scarce title/wrapper bound in the present copy, only contained four plates), amounting to 34 plates in all. These plates later appeared in Lahde’s “Elementarværk I Tegnekunsten (1817-18), and a selection of 12 plates were issued separately under the title “Karakteristiske Figurer eller Det daglige Liv i Hovedstaden” (1812). A further three plates were issued later (these three plates have been added to the present copy), and in 1820, all 37 plates appeared together. In 1830, the work appeared again, this time with 35 plates, under the title “Kjøbenhavns Klædedragter eller Det Daglige Liv i Hovedstaden”. Provenance: Oskar Davidsen, one of the most significant Danish book collectors, whose collection included virtually all illuminated and coloured Danish books. (Colas: 1721 for the later edition, not having the original)

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.

(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

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."

(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.

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.

(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.

(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.

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.

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.

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").

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.

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.)

(Argentorati (Strassbourg) apud Balthassarum Beck), 1541. Small 8vo. Contemporary full calf binding with brass clasps. Professionally and neatly re-backed. Title-page a bit soiled and three very small holes to first leaf of text, otherwise internally very nice, clean and fresh. Early 20th century book-plate to front free end-paper (depicting Aristotle and Plato and with Greek writing). One full-page and 7 half-page woodcut illustrations in the text. (4), 183, (4 - Index) ff. The very rare first edition edition thus, being the first edition edited by the celebrated Strasbourg physician Walter Hermann Ryff (reprinted in Venice in 1542). The book contains two works: Lull's "De secretis naturae" and Albert the Great's "De mineralibus & rebus metallicus", which is among the authentic writings of the author; both works are of the utmost importance and greatly influenced Renaissance philosophy and science: Lull invented an "art of finding truth" (often in Lullism referred to as "The Art"), which centuries later stimulated Leibnitz' dream of a universal algebra. Lull applied this to basically all subjects studied at the Medieval Universities. "Lull's metaphysics worked a revolution in the history of philosophy" (The Cambridge History of Renaissance Philosophy, p. 548). "The production of pseudo-Lullian alchemical texts culminated at the end of the fourteenth century with an important work, the "Liber de secretis naturæ sive de quinta essential". At that time the formation of this corpus of texts entered a second stage. In the "Liber de secretis naturæ" the alchemical practice of the Testamentum becomes linked to the fifth essence of wine, a distillation technique popularized in by Jean de Roquetaillade in 1350. Moreover, its author said on several occasions that he relied on the Testamentum and other alchemical texts, thus recognizing Lull as an alchemist. If the "Liber de secretis naturæ sive de quinta essential" seems to be a medical book guided by the thought and the style of Lull, it is also notable for its author's interest in turning matter into gold, unlike John Roquetaillade who for religious reasons was not mainly interested in such transmutation. It begins with a prologue consisting of a conversation between Lull and a monk, then come the two books paraphrasing Roquetaillade's De quinta essentia. It ends with a Tertia distinctio devoted to an alchemical application of the Lullian method (alphabets and trees). Even if the "Liber de secretis naturæ sive de quinta essential" suffered, like a number of alchemical works, from a very unreliable textual tradition in both manuscript and printed form, it enjoyed great success in the sixteenth century."His works on occult philosophy were essential to Renaissance magic. "As the inventor of a method which was to have an immense influence throughout Europe for centuries, Lull is an extremely important figure. Lullism is a precursor of scientific method. Lullian astral medicine developed into Pseudo-Lullian alchemy. The great figures of Renaissance Neoplatonism include Lulliiam in their interests, and naturally so since Lullism was the precursor of their ways of thinking. And from the point of history of religion and of religious toleration, surely we admire Lull's vision in taking advantage of the unique concentration of Christian, Moslem, and Jewish traditions." (Yates, The Occult Philosophy in the Elizabethan Age).The present work also contributed greatly to what later was to become known as Christian Kabbalah. Living in a region where the Catholic Church was dominant, where a large part of the land was still under heavy influence from Moslem Arabs, and where the Jews made important contributions to the culture, Lull sought to unify all three religions by developing a (natural) philosophy incorporating elements common to all. These rather unorthodox, and to some extent heretical, thoughts were later taken up by the Italian Renaissance philosopher Pico della Mirandola (1463-94). He and many of his contemporaries believed to have discovered in Kabbalah a lost divine revelation that could give the key to understanding both the teachings of Pythagoras, Plato, and the Orphics, as well as the inner secrets of Catholic Christianity. Pico della Mirandola had a considerable amount of Kabbalistic literature translated into Latin by the convert Samuel ben Nissim Abulfaraj.Raymond Lull (ab. 1232 - 1315), Majorcan writer, philosopher, memorycian (he was later to become a great source of inspiration for Giordano Bruno), logician, and a Franciscan tertiary. He wrote the first major work of Catalan literature. Recently-surfaced manuscripts show him to have anticipated by several centuries prominent work on elections theory. He is sometimes considered a pioneer of computation theory, especially given his influence on Gottfried Leibniz. He is also well known also as a glossator of Roman Law. Lull taught himself Arabic with the help from a slave. As a result, he wrote his "Ars Magna", which was intended to show the necessary reasons for the Christian faith. To promote his theory and test its effectiveness, he went to Algiers and Tunis. At the age of 82, in 1314, Lull traveled again to North Africa, where an angry crowd of Muslims stoned him in the city of Bougie. Genoese merchants took him back to Mallorca, where he died at home in Palma the following year.Despite the fact that a large corpus of the printed works by Lull are erroneously ascribed to him:" On the whole, we get the impression that the "Testament", "De secretis naturae seu de quinta essential", and "Lapidarius" are probably the oldest members of the Lullian alchemical collections" (Thorndyke)The present Ryff-edition became very popular and later appeared numerous times. It was reprinted already the following year in Venice, 1542, and editions followed in Nürnberg, 1546, Basel, 1561, Köln, 1567, etc. etc.Freilich: 372Adams: L, 1703Honeyman: v, 2064AWellcome: 3897

Londini Scanorum (Lund), Adami Junghaus - Vitus Haberegger, 1672. 4to. Contemporary or slightly later full mottled calf five raised bands to richly gilt spine. Edges of boards gilt. Very neat restorations to corners and hinges, barely noticeable. Blank front free end-paper with a few restorations. A mostly faint damp stain inner margin of first section of leaves. Some brownspotting. Title-page printed in red/black. (20), 1227,(9) pp. Scarce first edition of Pufendorf's magnum opus, one of the fundamental works of natural law. In this milestone work of political and legal thought, Pufendorf presents his system of universal law, which profoundly revised the natural law theories of Hobbes and Grotius. In his teaching, that the will of the state is but the sum of the individual wills that constitute it, he shows himself a precursor of Rousseau and of the "Social Contract"."It is a complete system of public, private and international law. Against Hobbes's view he contended that the state of nature was one of peace, not war, and heurged the view that international law... existed between all nations... [a work] of great importance" (David Walker, The Oxford Companion to Law)."In the 'De jure naturae et gentium' Pufendorf took up in great measure the theories of Grotius and sought to complete them by means of the doctrines of Hobbes and of his own ideas. His first important point was that natural law does not extend beyond the limits of this life and that it confines itself to regulating external acts. He disputed Hobbes's conception of the state of nature and concluded that the state of nature is not one of war but of peace. But this peace is feeble and insecure, and if something else does not come to its aid it can do very little for the preservation of mankind.As regards public law Pufendorf, while recognizing in the state (civitas) a moral person (persona moralis), teaches that the will of the state is but the sum of the individual wills that constitute it, and that this association explains the state. In this a priori conception, in which he scarcely gives proof of historical insight, he shows himself as one of the precursors of Rousseau and of the Contrat social. Pufendorf powerfully defends the idea that international law is not restricted to Christendom, but constitutes a common bond between all nations because all nations form part of humanity." (Encyclopedia Brit.).Collijn: p. 744.

Strassburg, Knobloch, 1506-7 + 1511 4to. Bound in one very nice full mottled calf binding from ab. 1800, with five raised bands to richly gilt spine. A bit of wear to extremities. Occasional browning, but all in all very nice and clean. 289 ff (without the white blanks) + (4), xcvi, (7), (4, -index & errata). Scarce first edition of Giovanni Francesco Pico's seminal "Opera", issued by Pico himself, in which some of his most important works appear for the first time, e.g. "De Rerum Praenotatione", "De fide ordine" and the "Staurostichon" as well as his translation of Justin the Martyr's "Admonitio", here bound with the highly important second edition of the "Hymni heroici tres". The present publication occupies a central place in the development of Renaissance thought. Through the "Opera" of Pico, skepticism came to play a dominant role in the development of early modern thought. "Telesio, Bruno, Galileo, and others also employed the same arguments which Pico had brought to the consciousness of Renaissance Europe. Gianfrancesco Pico's skeptical techniques did not die with him, but lived on to produce a tangible, recognizable influence on the intellectual ambience of early modern Europe." (Schmitt, p. 7). This seminal "Opera", published 13 years before the publication of Pico's magnum opus ("Examen Vanitatis") and 26 years before his death, is of the utmost importance to the development of Pico's thought and to the development of Renaissance thought in general - "a study on the philosophy of Gianfrancesco Pico della Mirandola would furnish an important addition to our knowledge of the philosophy of the Italian Renaissance" (Schmitt, p. (VII)). The many important works in the present publication are known under the joint title "Opera aurea & bracteata" or "Liber imaginationis". The publication is made up of 9 parts, all of which were also intended for separate sale (and which all have separate paginations). The works included are: "De rerum praenotatione etc.", "De fide et ordine credenda", "De morte Christi & propria cogitanda libri tres", "De studio divinae & humanae philosophiae, libri duo", "De imaginatione", "Vita Io. Pici patrui. Eiusdem de uno & ente/ defensio & alia quaepiam", "Epistolarum libri quattuor ", the translation of Justini's " Admonitio " - together with "Saurostichon/de mysterijs Germaniae Heroico carmine" and "Expositio tex. decreti de con. dis.ii. Hilarii", and then follows " Ad lectorum " - 6 of the works here are FIRST PRINTINGS. The second edition of the "Hymni heroici" is of the utmost scarcity. It originally appeared in 1507, but only the second edition also contains Pico's famous poem "Staurosticon".This magnificent collection of works by "the first modern sceptic" and "the only serious student of Sextus before the middle of the sixteenth century" (Copenhaver & Schmitt) constitutes a milestone in Renaissance thought. The seminal work "De rerum praenotatione", which appears here for the first time, is among the most important that Pico wrote. It constitutes a fierce attack upon superstition, and a defense of the true religious truths - theories that underpin ALL of his later thought and are of fundamental importance to his later works, including the "Examen". "This is a lengthy work (second in length only to the "Examen Vanitatis" among Pico's works) against pretended modes of prophesy. It is of the same genre as Giovanni Pico's work against astrology and is dedicated to the author's cousin and protector, Alberto Pio. It was first printed in the "opera" of 1506-07… There is no substantial portion of the work extant in manuscript." (Schmitt, p. 192). The "de fide et ordine", which also appears here for the first time, is likewise one of Pico's significant works, although not as philosophical as the previous work. "This is a work of medium length, principally theological, but of some philosophical importance. It was dedicated to Pope Julius II in the first printed edition of 1506-07" (Schmitt, pp. 193-94).The "Staurostichon" is Pico's most famous poem, dedicated to Emperor Maximilian. In spite of the few pages it takes up, it has been the subject of much debate and interpretation throughout the centuries. Apparently "[t]he extant manuscript seems to have been made after the first printed edition [i.e. the present]." (Schmitt, p. 196).Pico's translation of the "Admonitio" (which is no longer attributed to Justin the Martyr) is of great importance. "The first printing of the translation, which is dedicated to Zanobi Acciaiuoli, was in the "opera" of 1506-07. It was often reprinted, remaining a standard translation for most of the sixteenth century." (Schmitt, p. 200). The four books of Pico's letters are also printed here for the first time. "In the three editions of the "Opera" are printed four books of letters. These were prepared for the edition of 1506-07 and were reprinted with few additions in the later editions. Consequently, it seems that the bulk of Pico's personal letters written after 1505 have not come down to us." (Schmitt, p. 200). Giovanni Francesco [Gianfranceso] Pico della Mirandola (1470-1533), not to be confused with his uncle Giovanni Pico della Mirandola (1463-1494) was a highly important Renaissance thinker and philosopher, who was strongly influenced by the Neoplatonic tradition, but even more so by the preaching of Girolamo Savonarola, whose thought he defended throughout his life. Just like his uncle, Gianfrancesco Pico devoted his life to philosophy, but being a follower of Savonarola and having a Christian mission, he made it subject to the Bible. He even depreciated the authority of the philosophers, above all of Aristotle. "At the very beginning of the 16th century, Gian Francesco Pico, the nephew of Pico della Mirandola, had predicted the final failure of all attempts at reconciliation of the different philosophical movements. Gian Francesco Pico was a thinker of very considerable stature and a follower of Savonarola. There was a touch of tragedy about his personality. For his life was suspended, as it were, between the scaffold of Savonarola and incessant family feuds - in the course of one of which he was finally killed. No wonder that he borrowed from the scepticism of Sextus Empiricus in order to destroy philosophy to make more room for religion." (Garin, p. 133). Gianfr. Pico, a learned scholar and apt reader of classical texts, was the first Renaissance thinker that we know to have seriously studied and used the works of Sextus Empiricus, which were not printed until the 1560'ies, causing a revolution in Renaissance thinking. "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). "No significant use of Pyrrhonian ideas prior to the printing of Sextus' "Hypotyposes" has turned up, except for that of Gianfrancesco Pico della Mirandola [...] His writings may seem isolated from the main development of modern skepticism that began with the publication of the Latin translations and modernized formulation of ancient scepticism offered by Michel de Montaigne. However, they represent a most curious use of skepticism that reappears in the early seventeenth century with Joseph Mede and John Dury and the followers of Jacob Boehme and in the early eighteenth century in the writings of the Chevalier Ramsay, the first patron of David Hume, to fortify or justify prophetic knowledge." (Popkin, p. 20). Gianfr. Pico develops his sceptical arguments to their fullest extent in his "Examen" (1520), which is considered his main work. However, the foundation of all these ideas are laid in his earlier works, all the significant of which are present here, in his seminal "Opera"-collection. Together, they constitute the earliest printed testimonies to the use of scepticism and a premonition of the role that scepticism came to play in Renaissance thought, primarily after the first printings of Sextus in the 1560'ies. "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)."Throughout the early modern period, from Ficino and Pico to Newton and Leibniz, such convictions supported a pattern of historiography that could never have emerged without the humanists, even though it did not preserve their fame for modern times. Other myths of classicism and Christianity outlived the fable of ancient theology because they conflicted less flagrantly with the findings of historyThe purpose of the ancient theology was to sanctify learning by connecting it with a still more ancient source of gentile wisdom that reinforces sacred revelation. Rather than baptize the heathens as Ficino or the older Pico wished, some early modern critics damned them, and one of the most aggressive thinkers of this school was the younger Pico. He saw an impassable gulf between Christian and pagan belief where his uncle had tried to build bridges." (Copenhaver & Schmitt, p. 337). Schmitt Appendix Section I: nrs. 4, 13, 14, 26, 50; 51; Section II: nr.11See:Charles B. Schmitt: Gianfrancesco Pico della Mirandola (1469-1533) and his critique of Aristotle. 1967.Copenhaver & Schmitt: Renaissance Philosophy. 1992.Eugenio Garin: Italian Humanism. Philosophy and Civic Life in the Renaissance. Translated by Peter Munz. 1965.Richard H. Popkin: The History of Scepticism. From Savonarola to Bayle. 2003.

Amsterdam, Heinric Laurentius, 1644. Folio. Contemporary full vellum with neat later (19th century) rebacking. Six raised bands and gilt title to spine. Some wear to extremities. Internally a fresh and clean copy with only a bit of occasional brownspotting. Endpapers with a bit of soiling. 2 bookplates to inside of front board: Gilbert Redgrave, London (dated 1894) & Gorden M. Jones, Virginia. Text in Greek and Latin. Woodcut title-page, numerous woodcut intials throughout, and more than 600 woodcut illustrations in the text. (20), 1187, (1), (88 - Index) pp. First edition thus, being the most important and influential edition of Theophrastus' seminal work "Enquiry into Plants" - the first systematization of the botanical world and the most important contribution to botanical science up until the Renaissance. Bodaeus von Stapel's groundbreaking edition constitutes the first illustrated edition of Theophrastus' masterpiece as well as the first with both Greek and Latin text. Furthermore, von Stapel has not only collected all relevant commentaries and knowledge, he has also added corrections and much foundational information, turning the work into one of the most influential botanical works of the 17th century, profoundly influencing the likes of Linnaeus and contributing significantly to the development of modern scientific botany. "This edition displays great care and research; the notes are numerous and learned, and all botanical information to be gleaned from Aristotle, Pliny, Dioscorides, and other ancient writers, seems to be embodied in this work. The Greek text is Heinsius's; the Latin version is that of the editor, who has placed Gaza's in the margin, with frequent corrections. The conjectures of Scaliger, Constantine, and Salmasius, are also incorporated... it has collected into one body the opinions of the old writers on the subject of the PLANTS. It contains some wood-cuts of the rarer species, which are much better uncoloured than coloured." Dibdin II:498). The numerous woodcut plant illustrations were partly copied from other sources and partly made especially for this edition. Thus, apart from being "one of the best and most thoughtfully prepared of all the editions of Theophrastos" (Hunt), our editor has also made original contributions that are of great importance. "It is interesting not only because of the brilliance of the editing, but, curiously enough, to the American botanist as well, for involving in the discussion certain species from Virginia, other parts of the New World, and Asia. The illustrations of these plants have been largely overlooked in botanical history, because of their incidental presence in a work which might not be expected to contain anything of the sort. Some were merely borrowed from l'Ecluse or de Lobel, but others seem original in this work" (H.H. Bartlett: Fifty-five Rare Books - quoted by Hunt).At the height of the Renaissance, with the expansion of the known world and the spreading of the book due to the invention of the printing press, many new publications on plants appeared. Most of these publications, however, were primarily concerned with the medicinal qualities of individual plants and only few authors or editors took an interest in the general nature of the plants and how they could systematically be classified. One of the few exceptions was Bodaeus von Stapel. With his seminal 1644 edition of "Historia Plantarum", he focused on the overarching classification system of plants and took Theophrastus' work a step further, adding essential commentaries and illustrations - illustrations that were to be copied for centuries after. These illustrations remain the standard illustrations of Theophrastus' foundational work. This edition of Theophrastus' "Historia Plantarum" became the standard edition of that earliest work on systematic botany and the edition that all serious scientific botanists of the 17th and 18th centuries will have studied. "Linnaeus, in the practice of his favourite art of systematizing, classified not only plants but the writers about them. The writers he distinguishes primarily as Botanists, and Plant Lovers, recognizing as Botanists only such as treat of plants from some philosophic or scientific point of view. Choosing his illustrations from annals of remote antiquity, he names among the earliest of the Greeks who wrote of plants Hippocrates; but because he wrote of plants only in the interests of medicine Linnaeus styles him Father of Medicine... Similarly Aristotle... is down in the Linnaean list of ancient celebrities as Prince of Philosophers. To Theophrastus, however, he accords the title Father of Botany. From this opinion, far from having been newly promulgated in Linnaeus's time, there has been no dissenting voice. On the contrary, Albert Haller, one of the most learned men in Europe in his day, and a botanist of such renown that Linnaeus held him in reverence, and also in some fear, denominates Theophrastus "the first of real botanists in point of time." Kurt Sprengel in the nineteenth century, having rehearsed the names of a long line of ancient authors who had written more or less concerning plants, says: "But the most illustrious of them all, and the true father of botany, was Theophrastus Eresius…." (Greene, Landmarks of Botanical History, I:128).It is no wonder that Linnaeus should find in Theophrastus the Father of his own field - The "Historia Plantarum" was not only the earliest work on systematic botany, it also contained Theophrastus' description of the formation of the plant seed, the earliest account known and the best that was made for 2000 years.Hunt: 240; Pritzel: 9197; BM: V:2091; Dibdin: II:498.