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TRUSLEW, N. (& ECKERSBERG).

En Samling af Skibe i næsten alle mulige Stillinger i Söen. Udført i Kobber [i.e. A Collection of Ships in almost every Possible Position in the Sea. Executed in Copper]. - [THE CREATION OF THE DANISH SEASCAPE PAINTING]

Herman H. J. Lynge & Søn A/S
lyn60286
Kjöbenhavn, 1805 (-ca. 1807). Queer-folio (binding measuring 25,2 x 32 cm). Bound in a later (ca. 1920'ies), elegant brown full calf binding with gilt ornamentations to spine. Boards with gilt line-frames, gilt rosettes as those on spine and larger gilt corner-decorations. All edges of boards gilt and inner gilt dentelles. Front board with gilt title in the middle. Neatly rebacked. Minor wear to back board and a few smaller stains to front board and spine. Overall very nice. Bound with one of the very scarce printed title-labels. This is for the third issue, dated 1805 (the collection was issued in six issues, all dated between 1805 and 1806. They appeared in blue wrappers with printed title-labels, of which the last number in the year and the number of the issue were left blank to be added in hand, as they are here. Only a few examples of these title-labels have been preserved). All 36 engraved and hand-coloured plates (all measuring 16 x 21 cm) mounted on leaves of thick cardboard-like paper (measuring 24,5 x 31 cm). All images with original handwritten description in Danish underneath. Occasional brownspotting, but overall in very nice condition.

Exceedingly scarce collection of all 36 plates that were issued of Truslew’s spectacular “Ships in the Sea”, this being one of three complete copies known. Only two complete copies exist in public institutions (Handels- og Søfartsmuseet at Kronborg and the Danish Royal Collection of Graphic Art), and this is the only known complete copy on private hands. The 36 highly interesting plates that constitute this rare work occupy a central role in the history of Danish art, culture, and in the history of wartime. It is with this work that the tradition of Danish marine art is founded and it is inextricably linked with the name of one of the greatest Danish artists of all time: C.W. Eckersberg (known as “the father of Danish seascape painting”). It is generally accepted that Eckersberg with all likelihood drew the illustrations for Truslews etchings. “Ahead of his major travel to Paris and Rome in 1810-16, he (i.e. Eckersberg) had executed a number of ship portraits that were issued by N. Truslew in 1805 under the title “En samling skibe i næsten alle mulige stillinger i søen 1-6 Hæfte”. It is (a collection of) 36 coloured aquatints that could be engraved after the drawings of Eckersberg”. (Own translation from Danish, from “Den Danske udvikling of marinemaleriet. C.W. Eckersbergs arbejder af maritime karakter”, pp. 10-11). Not much is known about the amateur artist Niels Truslew, who was born in 1762 and was employed for decades in the office of the commercial house of the merchant Niels Ryberg. We know for certain, however, that Eckersberg and Truslew knew each other, and we know that for a while they worked together. It has also been proved beyond doubt that one of Eckersberg’s early watercolours from 1804 is the model for plate nr. V in the present collection. “[T]he role of the young Eckersberg, who became his generation’s most prominent painter, in the creation of the engravings is of considerably (sic) interest. Though it is true that it is not known with certainty just how much Eckersberg was involved, the series is evidence of a Danish background for the famous seascapes which Eckersberg first began to paint in the 1820‘s. In the period after he had done his early watercolour, he had been in Paris as a student of David, and it has been thought that the source of inspiration for Danish sea painting should therefore be found in the south. Truslew’s engravings show, however, that there was a native background for Eckersberg’s seascapes which, at the same time, of course, must be seen in the context of a larger European tradition.” (Møller, Lorentzen & Møller: Niels Truslew – Skibe I Søen 1805. 1979. Pp. 121-22). Apart from its obvious artistic importance, this scarce collection sheds light on a highly important period in Danish history, right between the Battle of Copenhagen (1801) - between Admiral Nelson’s squadrons and the anchored Danish ship blocks – and the bombardment of Copenhagen (1807) by the British. It is a period in which Danish maritime trade blossomed anew under the shelter of neutrality, and a period that saw a dramatic increase in popular interest in maritime subjects. The work is novel in several respects and is not merely a collection of ship portraits as such. It is also not a catalogue of ship types, as one finds in the 18th century, nor a collection meant for students. Truslew portrays the ships in action, and the illustrations are of one or more ships in function, in specific situations. Sometimes they will be exposed to the raging of the elements (it is probably not a coincidence that it is an English ship that is hit by lightening!), but most of them are seen in undramatic, everyday situations. The choice of ships is highly interesting, as it includes both English, American, Russian, French, Dutch, and Swedish ships, as well as Danish. And seeing that the interest lies in portraying contemporary ships, not historical ones, it becomes and important historical source. The American schooner, for instance, alludes to the West Indies. Sweden, France, and Russia are represented by warships, whereas there is not a single English warship. What is also unusual for this type of illustrations of the period, in both Denmark and abroad, is Truslew’s ability to create space around the ships, to put them in perspective and create an overall effect of space. These 36 plates are extremely rare and as mentioned, only two complete copies exist in public institutions. These two known copies vary from each other, however. The plates of the copy at Handels- og Søfartsmuseet has both German and Danish text, and the plates are numbered in the plates. That of the Royal Collection of Graphic Art has the Danish handwritten text under the plates and no numbering, as our copy. It is that copy that is used for the 1979-publication, “Truslew – Skibe i Søen”, which reproduces all of the plates. Our copy confirms exactly to that, with a few small variations: The handwritten text on plate VIII in our copy says “En Brig…” in stead of “En dansk Brig” The colouring of the American flag on plate XXXII varies a bit, as the red stripes are much clearer in our copy The handwritten text on plate XXXVI in our copy reads “anker” in stead of “ankeret”.
Adress:
Silkegade 11
DK-1113 Copenhagen
Denmark
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DK 16 89 50 16

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BERGIUS, PETER JONAS
Herman H. J. Lynge & Søn A/S
lyn62692
(Stockholm, 1777). 8vo. As extracted from "Kungl. Svenska vetenskapsakademiens handlingar", uncut unopened. Fine and clean. Pp. 304-309.
Medicinische und philosophische Schrifften von…
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ALBERTI, MICHAEL.
Herman H. J. Lynge & Søn A/S
lyn62695
Halle im Magdeburgischen, Hendel, 1721. 8vo. In contemporary full calf with four raise bands and richly gilt spine. Traces from old paper-label to upper part of spine. Leather on spine cracked, spine-ends slightly chipped. Internally nice and clean. (14), 620, (28) pp. First collected edition of Alberti’s essays. Alberti (1682–1757), professor of medicine and philosophy at Halle and later rector of the university, was a leading disciple of Georg Ernst Stahl who considered the soul as having control on the body. Therapies involved dealing with the internal senses and feelings.
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O Capital. (i.e. Portuguese:
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MARX, CARLOS [KARL] (+) GABRIELLE DEVILLE (+) [Translator:] ALBANO DE MORAES.
Herman H. J. Lynge & Søn A/S
lyn62679
Lisboa, De Francisco Luiz Goncalves, 1912. 8vo. In the original red printed cloth-binding with black and white lettering. Spine with loss of the white lettering. Paper-label pasted on to lower inner margin of front board. Very light wear to extremities, Internally very fine and clean. 240 pp. The exceedingly scarce first Portuguese edition of the most important abridged version of Marx's Capital ever to have appeared, published fifty-six years before the first full Portuguese (but published in Brazil) translation and whole sixy-two years before the first full translation published in Portugal. Curiously, two translations of the present work were made 1912 but the present translation seems to have priority (see Bastien, "Readings and Translations of Karl Marx in Portugal"). After the 1933 rise of Salazar's dictatorial Estado Novo regime, suppression of the relatively newly founded Communist party grew. Members were arrested, tortured, and executed and many were sent to the Tarrafal concentration camp in the Cape Verde Islands. Communist literature suffered an equally repressive fate, hence the rarity of the present work. Marxism and especially Marxist writing caught on comparatively late in Portugal: "As for the Socialist Party - supposed to be the main expression of Marxism -, it revealed itself unable to stimulate effective theoretical and doctrinal efforts. Its existence was an example of ambiguity and inconsequence. Its political programme went on mixing Marxian elements, associationist tradition and positivist thinking. Its strategy balanced continuously between an alliance with republican politicians and the maintenance of political autonomy. Its tatics balanced between electoral abstencionism and an involvement in election processes, that never led it to a relevant position in parliament. Even its international relations showed a lasting ambiguity: it had been created according to the instructions of the Marxist majority at the Hague Congress, when most of its members tended to support political abstencionism. When the formation of the Second lnternacional was taking place in Paris in 1889 Portuguese socialists tried to join the Marxist congress, after being present at the possibilist congress. In 1920 they decided to join the Third lnternacional (what was not accomplished), at the same time that an internal reformist turn was taking place." (Bastien, "Readings and Translations of Karl Marx in Portugal"). "The epitome, here translated, was published in Paris, in 1883, by Gabriel Deville, possibly the most brilliant writer among the French Marxians. It is the most successful attempt yet made to popularize Marx's scientific economics. It is by no means free from difficulties, for the subject is essentially a complex and difficult subject, but there are no difficulties that reasonable attention and patience will not enable the average reader to overcome. There is no attempt at originality. The very words in most cases are Marx's own words, and Capital is followed so closely that the first twenty-five chapters correspond in subject and treatment with the first twenty-five chapters of Capital. Chapter XXVI corresponds in the main with Chapter XXVI of Capital, but also contains portions of chapter XXX. The last three chapters-XXVII, XXVIII, and XXIX-correspond to the last three chapters-XXXI, XXXII, and XXXIII-of Capital." (ROBERT RIVES LA MONTE, Intruductory Note to the 1899 English translation). Capital de Marx also had a Portuguese edition at this time, or better, two different editions, both in 1912, but only in translation of the survey of Book I published in France by Gabriel Deville in 1883 (Marx, 1912a and Marx, 1912b). This version omitted material dealt with in at least four chapters of the original text and was not particularly appreciated by Engels. It was a simplified text, aimed at supporting the training of socialist militants and that made it possible for them to have access, indirect, to the work of Marx. The other summaries and anthologies of Capital, which, with a purpose similar to that of Deville, circulated in Europe during this period or ignored in Portugal, as was the case with Carlo Cafiero, or were only occasionally mentioned, as was the case with Paul Lafargue and Karl Kautsky, in its French versions. OCLC list two copies, both in the US.
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His Pokhodzhennia vydiv cherez pryrodnyi dobir,…
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DARWIN, CHARLES.
Herman H. J. Lynge & Søn A/S
lyn62681
(Kharkiv), Derzhavne medychne vyd-vo (State Medical Publishing House), 1936. 8vo. In publisher's original grey cloth binding with black lettering to spine with Darwin's portrait embossed on front board. Wear to extremities, corner bumped and light spoling to back board. Inner hinges split and first 3 leaves partly detached. Last 20 ff. slighly creased due to dampstain, otherwise internally a nice and clean copy. 674 pp. + frontispiece, portrait of Darwin and 1 plate with genealogical tree. The exceedingly rare first Ukranian translation of Darwin's landmark 'Origin of Species'. OCLC only list two copies (Library of Congress and The Huntington Library, USA) Freeman F797.
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Om Krigen med England. Med Tanker om samme…
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BOYE, JOHANNES.
Herman H. J. Lynge & Søn A/S
lyn62687
Fridericia, S. Elmenhoff, 1809. 8vo. In nice recent marbled paper covered boards with leather title-label with gilt lettering to spine. Ex-libris (Bent W. Dahlstrøm) to verso of front board. A nice and clean copy. 40 pp. Biblioteca Danica III, 572.
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VENTURA DA SILVA, JOAQUIM JOSE.
Herman H. J. Lynge & Søn A/S
lyn62100
Lisboa, Officina de Simão Thaddeo Ferreira, 1803. Folio-oblong (365 x 255 mm). In contemporary half calf. Wear to extremies, upper part of spine with loss of leather. Ex-libris pasted on to pasted down front end-paper. With, primarily marginal, brownspotting throughout. Dampstain to inner margin and upper outer margin of last 10 ff. 32 ff. Rare first edition of the most celebrated Portuguese treatise on calligraphy. Joaquim José Ventura da Silva (1777–1849), regarded as one of Portugal’s finest calligraphers and teachers of writing, composed this methodological guide to handwriting in which he combines a historical survey of scripts used in Portugal with practical instruction for teaching and learning penmanship.Ventura da Silva is reffered to by Innocencio (Diccionario Bibliographico) as "one of the best Portuguese Calligraphers". A second edition was published in 1819, a third in 1841, and a facsimile was published in Porto in 1899.
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