{"title":"The Goethe Collection","description":"\u003cp\u003e20 milestones tracing Goethe's journey from Sturm und Drang to World Literature\u003c\/p\u003e","products":[{"product_id":"herrmann-und-dorothea","title":"The illustrated Prachtausgabe of Hermann und Dorothea, in a signed Karl Ebert art binding","description":"\u003cp\u003e\u003cstrong\u003eHermann und Dorothea. Neue Ausgabe mit vier Kupfern nach Kolbe von Eßlinger.\u003c\/strong\u003e Braunschweig, Friedrich Vieweg, 1822.\u003c\/p\u003e\n\u003cp\u003eThe illustrated royal-8vo \u003cem\u003ePrachtausgabe\u003c\/em\u003e, printed in Antiqua on firm Vélin paper; the \u003cem\u003eNeue Ausgabe\u003c\/em\u003e following the earlier Vieweg text but incorporating corrections (a coloured-plate variant is also recorded). One preliminary leaf and 239 pp.\u003c\/p\u003e\n\u003cp\u003eWith four copperplates after Carl Wilhelm Kolbe the Younger, engraved by Martin Esslinger: an engraved frontispiece\/title showing Hermann and Dorothea with their children above two Norns, and three further plates in the text.\u003c\/p\u003e\n\u003cp\u003eSigned dark-blue grained-leather \u003cem\u003eKunsteinband\u003c\/em\u003e by Karl Ebert, München (the binder's gilt pallet on the lower turn-in), five raised bands, gilt-ruled panels, single gilt fillet border, top edge gilt, marbled endpapers, in a blue-lined slipcase (very good overall; text with light even foxing, binding with minor rubbing and natural patination, slipcase rubbed but functional).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe 1822 \u003cem\u003eNeue Ausgabe\u003c\/em\u003e is the illustrated royal-8vo issue recorded by the standard Goethe references.\u003c\/strong\u003e It is a cultivated \u003cem\u003ePrachtausgabe\u003c\/em\u003e whose authority rests as much in its material presentation as in its text, and the plates are central to its ambition. Carl Wilhelm Kolbe the Younger, a Berlin historical painter trained under Chodowiecki, supplied the historical-poetic conception; Esslinger, a Swiss engraver active in Zurich, translated it into copperplate, so the formula \u003cem\u003enach Kolbe von Eßlinger\u003c\/em\u003e marks a division of artistic labour rather than a minor production note. The imagery suits the poem, which turns the disruptions of the Revolutionary years into a civic and domestic epic of migration, hospitality and moral formation. Kolbe's classical idiom gives those themes a composed dignity within Vieweg's refined page.\u003c\/p\u003e\n\u003cp\u003eKarl Ebert, active in Munich, taught at the \u003cem\u003eKunstgewerbeschule\u003c\/em\u003e and was among the founding members of the \u003cem\u003eMeister der Einbandkunst\u003c\/em\u003e in 1923; his documented collaboration with Frieda Thiersch places him among the Munich artist-binders rather than the trade, and Horst Stobbe's 1919 exhibition catalogue \u003cem\u003eBucheinbände von Karl Ebert\u003c\/em\u003e calls him \"a craft-artist in the best sense of the word.\" His binding here is austere in the best sense, with narrow gilt fillets, a raised-band spine and a discreet signature, concentration rather than display.\u003c\/p\u003e\n\u003ch3\u003ePROVENANCE\u003c\/h3\u003e\n\u003cp\u003eEuropean private collection.\u003c\/p\u003e\n\u003ch3\u003eREFERENCES\u003c\/h3\u003e\n\u003cp\u003eGoedeke IV\/3, 335 (2u); Hagen 257; Kippenberg I, 671; Hirzel A 377; for the coloured-plate variant, Kippenberg I, 672; for the textual corrections, cf. Hewett, p. 133. For Ebert, Horst Stobbe, \u003cem\u003eBucheinbände von Karl Ebert\u003c\/em\u003e (Munich, 1919). For the engraver, SIK-ISEA (SIKART), s.v. Martin Esslinger.\u003c\/p\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":46193089839292,"sku":null,"price":1700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/Goethe-4.png?v=1778225110"},{"product_id":"three-lost-early-faust-books-including-two-unica","title":"The Inspiration for Goethe’s “Faust”: All three “Volksbücher” of Faust and Wagner, Two of them Unique","description":"\u003cp\u003e\u003cstrong\u003eTHE THREE BOOKS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e(a)\u003c\/strong\u003e \u003cem\u003eHistoria, Von Doct. Johan Fausti... Jetzt aufs newe vbersehen, vnnd mit vielen Stücken gemehret.\u003c\/em\u003e No place, no printer, 1589.) (⁸ A–P⁸, 228 pp., 5 [of 6] leaves (without final blank). Title in red and black, half-page title woodcut. Octavo (152 × 97 mm). Flexible eighteenth-century half-vellum, marbled boards, red edges (binding scuffed and bumped with losses; marginal tears; lightly browned and foxed).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e(b)\u003c\/strong\u003e \u003cem\u003eAnder Theil D. Joh. Fausti Historien...\u003c\/em\u003e [the Wagner book]. By F. S. [Frankfurt am Main, Nikolaus Basse?], 1596. A–P⁸, 119 [of 120] leaves (without final blank). Title in red and black, title woodcut. Octavo (151 × 92 mm). Nineteenth-century half-vellum with a calligraphic spine-title and a fool device, marbled boards (rubbed; manuscript entries to endpapers).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e(c)\u003c\/strong\u003e \u003cem\u003eHistoria Von Doct. Johan Fausti... Jetzt aufs new vbersehen, und mit vielen Stücken gemehret.\u003c\/em\u003e [Frankfurt am Main, Nikolaus Basse], 1597. A–M⁸, 164 pp., 5 [of 6] leaves (without final blank). Title in red and black, half-page title woodcut. Octavo (147 × 93 mm). Late-nineteenth-century vellum, red gilt-stamped spine-label, marbled endpapers (boards a little sprung, light stain to front cover).\u003c\/p\u003e\n\u003cp\u003e❦\u003c\/p\u003e\n\u003cp\u003eThe documentary record points not to the Johann Faust of Knittlingen of later tradition but to a real and traceable man, Georg Helmstetter of Helmstadt near Heidelberg, who matriculated at the university there in 1483 and took his bachelor's degree in 1484 and his master's in 1487 [Baron 2016, from Schottenloher's 1913 edition of Kilian Leib's weather-diary].\u003c\/p\u003e\n\u003cp\u003eHe soon left the lecture hall for the road and lived by astrology, physiognomy and palmistry. The earliest notice of him comes in a letter of 1507, in which the abbot Johannes Trithemius, writing to the Heidelberg astrologer Johannes Virdung von Haßfurt, dismisses him as a vagabond fraud and copies out the grandiose visiting card Faust was handing about, on which he had styled himself \"Magister Georgius Sabellicus, Faustus iunior, fons necromanticorum, astrologus, magus secundus, chiromanticus.\" The same letter records that at Kreuznach, where Franz von Sickingen had found him a schoolmaster's place, he was accused of molesting the boys and fled.\u003c\/p\u003e\n\u003cp\u003eIn 1513 the humanist Conrad Mutianus Rufus heard him holding forth in an Erfurt tavern and called him \"Georgius Faustus Helmitheus Hedelbergensis,\" which once more points to Heidelberg, and for all of Trithemius's contempt he found patrons among princes and prelates. In 1520 the Bamberg bishop Georg III. Schenk von Limpurg paid him for a horoscope, the fee duly entered in the episcopal accounts on 12 February of that year [Tille].\u003c\/p\u003e\n\u003cp\u003eHe is said to have died about 1541 at Staufen im Breisgau, though that last detail survives only in the \u003cem\u003eZimmerische Chronik\u003c\/em\u003e, a source already coloured by legend [Baron, \"Which Faustus Died in Staufen?\"].\u003c\/p\u003e\n\u003cp\u003eHe was, in short, a thoroughly Renaissance figure, in whom the age's great confidence in human powers passed easily into overreaching, and in whom the desire for knowledge was inseparable from the conviction that such power had to be bought by pledging the soul to the Devil [Hecht 7–8; Neubert X].\u003c\/p\u003e\n\u003cp\u003eThe legend that gathered around this man was shaped to a remarkable degree within Luther's own circle at Wittenberg. Luther spoke of Faust at \u003cem\u003eTable Talk\u003c\/em\u003e (\u003cem\u003eTischreden\u003c\/em\u003e) in 1537, Melanchthon repeated Faust stories in his lectures, and Melanchthon's pupil Johann Manlius fixed the magician's first name as Johann and his birthplace as Knittlingen, close to Melanchthon's native Bretten, which is why the later tradition has always wavered between Georg and Johann.\u003c\/p\u003e\n\u003cp\u003eThe decisive figure, however, was Augustin Lercheimer, pseudonym of Hermann Witekind, who had studied at Wittenberg from 1548 and stood high in Melanchthon's favour, and whose \u003cem\u003eChristlich bedencken und erinnerung von Zauberey\u003c\/em\u003e of 1585 furnished much of the conception that was incorporated in the anonymous \u003cem\u003eHistoria von D. Johann Fausten\u003c\/em\u003e which Johann Spies printed at Frankfurt in 1587 [Baron, \"The Faust Book's Indebtedness to Augustin Lercheimer and Wittenberg Sources\"].\u003c\/p\u003e\n\u003cp\u003eThe \u003cem\u003eFaust Book\u003c\/em\u003e thus came into the world as a Lutheran production, its hero a Wittenberg theologian who binds himself to Mephistophilis for twenty-four years and is duly damned.\u003c\/p\u003e\n\u003cp\u003eThe \u003cem\u003eHistoria\u003c\/em\u003e appeared in a Germany worn by plague, death and confessional dread, at the very height of the witch trials, and its Faust is no longer the daring intellectual of the humanist age [Middell 7] but, in Neubert's words, \"a deliberately composed admonitory tract against sorcery and the Devil's pact\" [Neubert XX], a single figure deliberately composed as an admonition against sorcery and the Devil's pact, into which the anxieties of the age could be gathered and then condemned.\u003c\/p\u003e\n\u003cp\u003eThe irony is a bitter one, for Lercheimer, whose book had fed the \u003cem\u003eHistoria\u003c\/em\u003e, wrote chiefly against the persecution of witches [Baron], in the same decades that were sending great numbers of people, most of them women, to the stake and turning the same apparatus of fear upon heretics and upon Jews.\u003c\/p\u003e\n\u003cp\u003eEven to print such matter was hazardous, since the magic in these books is increasingly shown rather than merely denounced, and that is why not one of the three names an author, a printer or a place. The silence, as Hecht remarked, betrays a publisher's genuine fear of the Inquisition and of the suspicion that he kept company with the Devil [Hecht 15; Münkler].\u003c\/p\u003e\n\u003cp\u003eAll three belong to the enlarged recension of the text, the one their title pages announce as \"mit vielen Stücken gemehret,\" augmented with many pieces.\u003c\/p\u003e\n\u003cp\u003eThe edition of 1589 is the first to carry six chapters absent from the lean Spies text, five of them set in the university world of Erfurt, where Faust summons Homer's heroes and the giant Polyphemus before the students and turns away the friar Klinge, and one at Leipzig, the celebrated \u003cem\u003eFaßritt\u003c\/em\u003e, the ride out of Auerbach's cellar astride a wine barrel [Neubert XXII; Petsch 1911; Henning; Münkler].\u003c\/p\u003e\n\u003cp\u003eThe Wagner book of 1596 (first published in 1593) belongs to what Henning describes as a Faust trilogy, with the \u003cem\u003eFaust-Buch\u003c\/em\u003e of 1587 and the \u003cem\u003eFausts Gaukeltasche\u003c\/em\u003e of 1607; it follows Faust's heir Christoph Wagner, who makes his own pact, for a mere five years, and reaches America and China before coming to his own wretched end, and it goes further than the \u003cem\u003eFaust Book\u003c\/em\u003e in actually displaying the magic it claims to withhold.\u003c\/p\u003e\n\u003cp\u003eThe survivals are as remarkable as the texts. Even the Spies \u003cem\u003eeditio princeps\u003c\/em\u003e of 1587 is known in no more than about five copies, four of them imperfect [Heitz\/Ritter], and across the some twenty recorded editions of the \u003cem\u003eHistoria\u003c\/em\u003e, the Wagner book and their offshoots barely three dozen copies survive altogether, nearly all in public collections [Petsch 1911; Heitz\/Ritter; USTC].\u003c\/p\u003e\n\u003cp\u003eThe 1589 is recorded in only two or three copies, one of them at the Bayerische Staatsbibliothek München [VD 16 F 647; USTC 663315]; the 1597 is a \u003cem\u003erarissimum\u003c\/em\u003e surviving in this copy alone, known to VD 16 only from the description of this very book and listed by USTC among its lost editions [VD 16 F 653; USTC 663317]; and the 1596 Wagner book is, so far as record goes, likewise a \u003cem\u003eunicum\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eWhen Karl Engel compiled his Faust bibliography he could point to no library that owned the 1589, insisting only that its existence was \"not to be doubted\" [Engel 217], and he passed over the 1597 altogether, as did Ebert and Goedeke.\u003c\/p\u003e\n\u003cp\u003eWhat in time turned this work of warning into the drama we know was a long reversal of its verdict. Faust remained a damned man through Widmann's recasting of 1599 and Pfitzer's of 1674, and it was only the Enlightenment that overturned the sentence.\u003c\/p\u003e\n\u003cp\u003eIn his unfinished \u003cem\u003eFaust\u003c\/em\u003e, Lessing treated the thirst for knowledge not as a sin but as the noblest of human impulses, and on the testimony of his friends Blanckenburg and Engel the play closed, for the first time, with Faust saved rather than destroyed [Wisconsin Workshop, \"Our Faust?\", 1987].\u003c\/p\u003e\n\u003cp\u003eThat rescue belonged to the same Enlightenment temper that was turning away from the stake and of which Lessing was himself a voice, the author of \u003cem\u003eNathan der Weise\u003c\/em\u003e and the friend of Moses Mendelssohn.\u003c\/p\u003e\n\u003cp\u003eGoethe brought the reversal to its conclusion, and in his hands Faust is redeemed by the very act of striving.\u003c\/p\u003e\n\u003cp\u003eGoethe's \u003cem\u003eFaust\u003c\/em\u003e descends directly from the text these copies preserve. He came upon the story first as a child, in the puppet play that, in his own words, \"echoed and reverberated within me in many tones\" (\u003cem\u003eDichtung und Wahrheit\u003c\/em\u003e, Book 10), and it was from that memory, rather than from any book, that his own \u003cem\u003eUrfaust\u003c\/em\u003e of about 1772 to 1775 and the \u003cem\u003eFragment\u003c\/em\u003e of 1790 first grew, both of them written before he is known to have opened a printed \u003cem\u003eFaust\u003c\/em\u003e book.\u003c\/p\u003e\n\u003cp\u003eOnly in 1801, at work on Part One, did he borrow Pfitzer's \u003cem\u003eFaustbuch\u003c\/em\u003e from the Weimar library, having never known the Spies first edition [Pniower 1899, nos. 213, 217, 723], so that the chapbook was for him a quarry to return to rather than a point of departure.\u003c\/p\u003e\n\u003cp\u003ePfitzer had reworked Widmann, and Widmann had drawn on the \u003cem\u003eHistoria\u003c\/em\u003e in its form enlarged by the Erfurt chapters, so that the matter Goethe took from the printed chapbook, and Auerbach's cellar before all, is precisely the matter this enlarged recension introduced and the first edition never held.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThese three volumes are its earliest and rarest witnesses.\u003c\/strong\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003ch3\u003ePROVENANCE\u003c\/h3\u003e\n\u003cp\u003eThe jurist Heinrich Apel (1845–1889), who assembled an early-modern collection at his estate of Ermlitz near Leipzig and corresponded about the Faust copies with the bibliographer Friedrich Zarncke; with his ownership entries and the \"Apel Library, Rittergut Ermlitz\" stamp — Heinrich Apel's library mark, not the Theodor Apel stamp recorded by Lugt [Lugt II, 16a]. Confiscated after 1945, held at the Moritzburg, Halle, and restituted to the heir Gerd-Heinrich Apel under the 1994 law.\u003c\/p\u003e\n\u003cp\u003eHartung \u0026amp; Hartung, Munich, Auction 100, 15 May 2001, lots 101–103.\u003c\/p\u003e\n\u003ch3\u003eREFERENCES\u003c\/h3\u003e\n\u003cp\u003eAll not in Adams or \u003cem\u003eBM STC German\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eAll not in Adams, \u003cem\u003eBM STC German\u003c\/em\u003e, or the catalogue of the 1893 \u003cem\u003eFaust\u003c\/em\u003e exhibition at the Freies Deutsches Hochstift.\u003c\/p\u003e\n\u003cp\u003eGoedeke II, 566 (III, 1) and 567 (IV, 6); Engel 217 and 301; Ebert 7372; Heitz\/Ritter 140, 146, 708 (these copies); Henning 1021 and 1269 (these copies); VD 16 F 647 and F 653; USTC 663315 and USTC 663317.\u003c\/p\u003e\n\u003cp\u003eFrank Baron, \u003cem\u003eGeorg Helmstetter (alias Faustus) als Alumnus der Universität Heidelberg\u003c\/em\u003e (2016); Baron, \"Which Faustus Died in Staufen? History and Legend in the Zimmerische Chronik\"; Baron, \"The Faust Book's Indebtedness to Augustin Lercheimer and Wittenberg Sources\"; Hans Henning, \u003cem\u003eFaust-Bibliographie \/ Faust-Variationen\u003c\/em\u003e; \u003cem\u003eOur Faust? Roots and Ramifications of a Modern German Myth\u003c\/em\u003e (16th Wisconsin Workshop, 1987); Petsch, \u003cem\u003eDas Volksbuch vom Doctor Faust\u003c\/em\u003e(1911); A. Tille, \u003cem\u003eDie Faustsplitter in der Literatur\u003c\/em\u003e (1900); Münkler, \u003cem\u003eNarrative Ambiguität\u003c\/em\u003e (2011); \u003cem\u003eFaust-Handbuch\u003c\/em\u003e(2018); Pniower, \u003cem\u003eGoethes Faust: Zeugnisse und Excurse\u003c\/em\u003e (1899); Goethe, \u003cem\u003eDichtung und Wahrheit\u003c\/em\u003e (Book 10).\u003c\/p\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":46834288591036,"sku":null,"price":195000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/p431_img01-Photoroom.png?v=1779077366"},{"product_id":"ein-fragment-achte-ausgabe","title":"The first separate edition of Faust: Ein Fragment","description":"\u003cp\u003e\u003cstrong\u003eFaust. Ein Fragment. Ächte Ausgabe.\u003c\/strong\u003e Leipzig, G. J. Göschen, 1790.\u003c\/p\u003e\n\u003cp\u003eTitle-page and 168 pp. Small octavo (155 × 88 mm). Wine-red morocco signed by G. Jebsen, Hamburg, c. 1900, with triple gilt fillet frames to the covers, a richly gilt floral spine, green morocco doublures and lavish gilt dentelle tooling (a pristine copy, text and binding alike exceptionally fresh).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe first \u003cem\u003eFaust\u003c\/em\u003e to reach the public.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe genuine separate issue (Hagen's \"\u003cem\u003eÄchte\u003c\/em\u003e Ausgabe\"), the original and scarcer D° state, distinguished by the repetition of the last three lines of p. 144, the passage beginning \u003cem\u003e\"Der ganz allein,\"\u003c\/em\u003e at the head of p. 145. Title-page and 168 pp. Without engraving, and lacking the sheet-signature \"\u003cem\u003eGoethe's W. 1.–8. B.\u003c\/em\u003e\" found on the copies later made up from \u003cem\u003eSchriften\u003c\/em\u003e sheets. The edition appeared in April 1790 in some 4,000 copies, of which 3,000 formed Volume 7 of Goethe's \u003cem\u003eSchriften\u003c\/em\u003e and 1,000 were issued separately; the present copy is one of the 1,000 \u003cem\u003eEinzeldrucke\u003c\/em\u003e [Sutherland, \u003cem\u003eBodleian Library Record\u003c\/em\u003e IX\/1].\u003c\/p\u003e\n\u003cp\u003eThis is the first \u003cem\u003eFaust\u003c\/em\u003e to reach the public, the work that would occupy Goethe from youth to old age. The title is exact. \u003cem\u003eFaust\u003c\/em\u003e enters print not as a finished tragedy but as \u003cem\u003eEin Fragment\u003c\/em\u003e, a public form of incompletion. The \u003cem\u003eFragment\u003c\/em\u003e preserves the work as it stood before the Dedication, the two prologues, the fully articulated pact and wager, the Walpurgisnacht and the dungeon scene were added to give the 1808 \u003cem\u003eFaust I\u003c\/em\u003e its architecture [Henning, \u003cem\u003eFaust-Variationen\u003c\/em\u003e, the scene-by-scene comparison; Seuffert 1882]. The 1790 \u003cem\u003eFragment\u003c\/em\u003e is therefore not merely an earlier state superseded by the 1808 \u003cem\u003eFaust I\u003c\/em\u003e, but the form to which the history of the work must return. Goethe later told Schiller he had resolved to reopen his \u003cem\u003eFaust\u003c\/em\u003e, to dissolve what had already been printed and arrange the material anew [Goethe to Schiller, 22 June 1797]. This \u003cem\u003eFragment\u003c\/em\u003e is the printed body he had to reopen to make the modern \u003cem\u003eFaust\u003c\/em\u003e possible.\u003c\/p\u003e\n\u003cp\u003eGustav Jebsen of Hamburg bound this copy in wine-red morocco with green doublures and lavish dentelle work; Helma Schaefer characterizes the Hamburg binding culture Jebsen represents as one of \"complete passion and precision,\" devoted to objects \"beautiful, valuable, and lasting\" [Schaefer, \u003cem\u003eEinbandforschung\u003c\/em\u003e 33 (2013)]. The copy thus unites the earliest printed \u003cem\u003eFaust\u003c\/em\u003e with a later collector's care.\u003c\/p\u003e\n\u003ch3\u003ePROVENANCE\u003c\/h3\u003e\n\u003cp\u003eThe Heribert Tenschert Collection.\u003c\/p\u003e\n\u003ch3\u003eREFERENCES\u003c\/h3\u003e\n\u003cp\u003eGoedeke IV\/3, 611, 2; Hagen 204; Meyer 362; Kippenberg I, 2377; Hirzel A 165\/66; Brieger 670; Wilpert\/Gühring 42.\u003c\/p\u003e\n\u003cp\u003eBernhard Seuffert, \u003cem\u003eFaust. Ein Fragment\u003c\/em\u003e (1882); Goethe to Schiller, 22 June 1797; Helma Schaefer, \"Ein Dedikationsband für Hamburg,\" \u003cem\u003eEinbandforschung\u003c\/em\u003e 33 (September 2013), pp. 4–6; Rohde, Valk \u0026amp; Mayer (eds.), \u003cem\u003eFaust-Handbuch\u003c\/em\u003e (Metzler, 2018); Hans Henning, \u003cem\u003eFaust-Variationen. Beiträge zur Editionsgeschichte\u003c\/em\u003e; D. M. Sutherland, \"Early Editions of Goethe, Schiller, and Wagner,\" \u003cem\u003eBodleian Library Record\u003c\/em\u003e IX\/1.\u003c\/p\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":46929240359100,"sku":null,"price":45000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/Faust_Fragment_Maroquin-1.png?v=1781052412"},{"product_id":"faust-eine-tragodie","title":"The first edition of Faust I, inscribed by its first owner Prince of Schwarzburg-Rudolstadt, in original boards","description":"\u003cp\u003e\u003cstrong\u003eFaust. Eine Tragödie.\u003c\/strong\u003e Tübingen, J. G. Cotta, 1808.\u003c\/p\u003e\n\u003cp\u003eFirst edition of \u003cem\u003eFaust I\u003c\/em\u003e, 309 pp. Hagen 310 records the edition and the reimposed setting of gathering A, the press-corrections chiefly orthographic and punctuational; three scenes had appeared in Cotta's \u003cem\u003eMorgenblatt für gebildete Stände\u003c\/em\u003ein April–May 1808, just before the volume itself. Small quarto (124 × 100 mm).\u003c\/p\u003e\n\u003cp\u003eThe copy carries the handwritten entry of its first owner, Friedrich von Günther, Prince of Schwarzburg-Rudolstadt.\u003c\/p\u003e\n\u003cp\u003eContemporary striped paste-paper boards, later spine label (very good to near-fine; internally beautiful and almost free of spotting), with the manuscript ownership inscription of Friedrich Günther, Prince of Schwarzburg-Rudolstadt.\u003c\/p\u003e\n\u003cp\u003eIts first owner, Friedrich Günther (1793–1867), was the sovereign of Schwarzburg-Rudolstadt, a Thuringian principality neighbouring Weimar; in its original striped boards and with his inscription, the copy survives substantially as first issued.\u003c\/p\u003e\n\u003cp\u003eIf the 1790 \u003cem\u003eFragment\u003c\/em\u003e lets us watch \u003cem\u003eFaust\u003c\/em\u003e in the act of becoming, the first edition of 1808 presents the completed tragedy, the form through which \u003cem\u003eFaust\u003c\/em\u003e entered the literary imagination of Europe. The road between them was not one of simple expansion. Writing to Schiller in June 1797, Goethe described the task as reconstruction, dissolving what had been printed and arranging it anew, with the completed and newly invented material, \"in large masses\" [Goethe to Schiller, 22 June 1797]. Schiller at once grasped what Goethe took to be the work's centre, naming the \"duplicity of human nature\" and humanity's failed striving to unite the divine and the physical [Schiller to Goethe, 23 June 1797], still one of the most penetrating contemporary responses to the poem.\u003c\/p\u003e\n\u003cp\u003eSchiller and other early admirers prized it, but Wieland doubted its prospects [Wieland to F. von Retzer, 20 June 1808] and Jean Paul judged it aimed at the \"Titanen-Frechheit\" its author knew in himself [Jean Paul to F. H. Jacobi, 4 October 1809]; from the outset readers disagreed over whether \u003cem\u003eFaust\u003c\/em\u003e was a model of striving or a warning against presumption [Durrani, \"Biblical Borrowings in Goethe's Faust,\" \u003cem\u003eModern Language Review\u003c\/em\u003e]. The chapter in Madame de Staël's \u003cem\u003eDe l'Allemagne\u003c\/em\u003e (1813) made \u003cem\u003eFaust\u003c\/em\u003e known across Europe and read it as a parody of belief: for her \u003cem\u003e\"le diable est le héros de cette pièce,\"\u003c\/em\u003e the devil the hero, and she foretold that Goethe meant \u003cem\u003eFaust's\u003c\/em\u003e life to be saved but his soul lost — \u003cem\u003e\"que la vie de Faust soit sauvée, mais que son âme soit perdue\"\u003c\/em\u003e [de Staël, \u003cem\u003eDe l'Allemagne\u003c\/em\u003e (London, 1813), ii, 216, 220]. Her enthusiasm for a work she took as irreligious made it the more suspect to German readers [Durrani]. In Britain reviewers returned to the same three charges — absurdity, obscenity, blasphemy — and Coleridge, repeatedly pressed to translate the play, declined over language he found \"vulgar, licentious and blasphemous\" [Coleridge, \u003cem\u003eTable Talk\u003c\/em\u003e]. Told that Lord Gower had left the \u003cem\u003ePrologue in Heaven\u003c\/em\u003e untranslated, Goethe answered that it was \"quite unobjectionable — the idea is in Job\" [Goethe to H. C. Robinson, August 1829].\u003c\/p\u003e\n\u003cp\u003eIt was through de Staël's pages that Byron first met \u003cem\u003eFaust\u003c\/em\u003e, and out of it made his \u003cem\u003eManfred\u003c\/em\u003e; reviewing the English play in 1820, Goethe wrote that Byron \"has taken my \u003cem\u003eFaustus\u003c\/em\u003e to himself\" and drew from it \"the strangest nourishment,\" and he set the dead Byron, as Euphorion, into the \u003cem\u003eSecond Part\u003c\/em\u003e [Goethe on Byron's \u003cem\u003eManfred\u003c\/em\u003e, \u003cem\u003eÜber Kunst und Alterthum\u003c\/em\u003e, 1820; Eckermann, 24 February 1825]. Nicholas Boyle calls \u003cem\u003eFaust's\u003c\/em\u003e wager—staked not for a term of years but on the certainty that no moment will ever content him—\"the morality of modernity itself\" [Boyle, \u003cem\u003eGoethe: The Poet and the Age\u003c\/em\u003e, I]. Eighteen years separate the \u003cem\u003eFragment\u003c\/em\u003e from this edition, across which Goethe reshaped the material into a single dramatic structure and completed the Gretchen tragedy. Asked what \"idea\" the work embodied, he denied there was one; \"From heaven, through the world, to hell,\" he told Eckermann, \"would indeed be something, but this is no idea, only a course of action\" [Eckermann, 6 May 1827].\u003c\/p\u003e\n\u003ch3\u003ePROVENANCE\u003c\/h3\u003e\n\u003cp\u003eFriedrich Günther, Prince of Schwarzburg-Rudolstadt (1793–1867), with manuscript ownership inscription.\u003c\/p\u003e\n\u003cp\u003eThe Heribert Tenschert Collection.\u003c\/p\u003e\n\u003ch3\u003eREFERENCES\u003c\/h3\u003e\n\u003cp\u003eGoedeke IV\/3, 613; Hagen 310; Kippenberg I, 2385; Hirzel A 265; Brieger 671; Wilpert\/Gühring 80.\u003c\/p\u003e\n\u003cp\u003eGoethe to Schiller, 22 June 1797; Schiller to Goethe, 23 June 1797; Goethe to Schiller, 27 June 1797; \u003cem\u003eMorgenblatt für gebildete Stände\u003c\/em\u003e, 1808, nos. 84, 89, 108; J. P. Eckermann, \u003cem\u003eGespräche mit Goethe\u003c\/em\u003e, 6 May 1827; Thomas Mann, \"Goethe\" (1932); Nicholas Boyle, \u003cem\u003eGoethe: The Poet and the Age\u003c\/em\u003e, I (Oxford, 1991); Germaine de Staël, \u003cem\u003eDe l'Allemagne\u003c\/em\u003e (London, 1813), ii; C. M. Wieland to F. von Retzer, 20 June 1808; Jean Paul to F. H. Jacobi, 4 October 1809; S. T. Coleridge, \u003cem\u003eTable Talk\u003c\/em\u003e; Goethe to H. C. Robinson, August 1829; Goethe on Byron's \u003cem\u003eManfred\u003c\/em\u003e, \u003cem\u003eÜber Kunst und Alterthum\u003c\/em\u003e (1820); Eckermann, \u003cem\u003eGespräche mit Goethe\u003c\/em\u003e, 24 February 1825; Osman Durrani, \"Biblical Borrowings in Goethe's \u003cem\u003eFaust\u003c\/em\u003e: A Historical Survey of Their Interpretation,\" \u003cem\u003eModern Language Review\u003c\/em\u003e.\u003c\/p\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":46929465278652,"sku":null,"price":25000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/Faust-Teil-1_1808-2.png?v=1781057370"},{"product_id":"goethe-faust-eine-tragodie-zweyter-theil","title":"The posthumous first separate edition of Faust II, completed by Goethe shortly before his death","description":"\u003cp\u003e\u003cstrong\u003eFaust. Eine Tragödie. Zweyter Theil in fünf Acten.\u003c\/strong\u003e Stuttgart and Tübingen, J. G. Cotta, 1833.\u003c\/p\u003e\n\u003cp\u003ePosthumous first separate edition; Hagen 480 records the D° state, a first separate printing from volume 41 of Cotta's \u003cem\u003eAusgabe letzter Hand\u003c\/em\u003e, the sheet-norm altered to \"\u003cem\u003eGoethe's Faust. II. Th.\u003c\/em\u003e\" Title-page and 344 pp. Small octavo (133 × 90 mm). It comes from the same ownership as the \u003cem\u003eFaust I\u003c\/em\u003e (No. 10).\u003c\/p\u003e\n\u003cp\u003eContemporary speckled boards, later spine label (well-preserved; internally very good and almost free of spotting).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFaust II is the close of Goethe's longest imaginative labour, a project begun in the 1770s.\u003c\/strong\u003e Finished in the summer of 1831, it was withheld and issued only after his death; Goethe told Zelter that the Second Part was \"now complete in itself\" and that he would \"put a seal on it\" [Goethe to Zelter, 4 September 1831], and never saw it as a separate printed book, which makes the 1833 Cotta edition the first separate appearance of his last dramatic act. Goethe himself drew the sharpest line between the parts. To Eckermann on 17 February 1831 he called Part I almost wholly subjective, born of a perplexed and passionate individual, and saw in Part II \"a higher, broader, clearer, more passionless world\" [Eckermann, 17 February 1831]. It is not a sequel in ordinary narrative terms but the transformation of \u003cem\u003eFaust\u003c\/em\u003e into world-drama, concerned now with history, culture, power and redemption.\u003c\/p\u003e\n\u003cp\u003eGoethe finished \u003cem\u003eFaust II\u003c\/em\u003e against age and failing strength, sealing the manuscript for a posterity he knew he would not live to see [Eckermann]. The alchemy of his Frankfurt reading returns in the Laboratory, where Wagner brews the Homunculus [Gray, \u003cem\u003eGoethe the Alchemist\u003c\/em\u003e]; the fourth act sets the imperial constitution of the old Reich, conferring the arch-offices on the electors as the \u003cem\u003eGoldene Bulle\u003c\/em\u003e of 1356 ordained; the \u003cem\u003eClassical Walpurgisnacht\u003c\/em\u003e stages the Neptunist–Vulcanist contest of the geological writings; and the third act is the marriage of Helena and Faust, of Greek antiquity and the Romantic North, whose son Euphorion—Goethe's figure for Byron—soars, overreaches, and falls [Schöne, \u003cem\u003eFaust. Kommentar\u003c\/em\u003e]. The verse ranges across the whole tradition, from the \u003cem\u003eKnittelvers\u003c\/em\u003e of the old puppet play, through the Alexandrine that the \u003cem\u003eSturm und Drang\u003c\/em\u003e had discarded as outworn and that Goethe now reclaimed for the imperial tent, to the Greek trimeter in which Helena enters and the free rhythms of the close [Schöne's commentary on \u003cem\u003eFaust\u003c\/em\u003e]. The argument is carried by symbol and allusion rather than by direct statement, the mode Jane Brown takes to govern the whole play [Brown, \u003cem\u003eGoethe's Faust: The German Tragedy\u003c\/em\u003e]; the closing \u003cem\u003eChorus mysticus\u003c\/em\u003e states it plainly, that all which passes is but a likeness of the eternal (\u003cem\u003eFaust II\u003c\/em\u003e, lines 12104–11). The immortal part the angels bear aloft Goethe conceived as an \u003cem\u003eEntelechie\u003c\/em\u003e, an indestructible active monad that, because it never ceases to strive, may be redeemed [Eckermann].\u003c\/p\u003e\n\u003cp\u003eThe \u003cem\u003eSecond Part\u003c\/em\u003e met contempt and ridicule when it appeared after Goethe's death, the salvation of Faust striking many as incongruous with his crimes; Wolfgang Menzel scorned the redemption as wholly unmerited, granted to a \"vornehmer Lüstling,\" and mocked the closing heaven as a \"Mädchenhimmel\" [Menzel, \u003cem\u003eDie deutsche Literatur\u003c\/em\u003e (Stuttgart, 1836)]. The play was long thought impossible to stage, and was not performed complete until Peter Stein's twenty-one-hour staging of both parts at Hanover in 2000 [Fischer-Lichte, \u003cem\u003eTheatre Journal\u003c\/em\u003e 53 (2001)]. Oswald Spengler made \"der faustische Mensch\" the emblem of his account of Western culture [Spengler, \u003cem\u003eDer Untergang des Abendlandes\u003c\/em\u003e]; Thomas Mann read Faust's rescue as a Pelagian \"labour forwards towards grace\" [Mann, \"Goethe and Tolstoy,\" \u003cem\u003eEssays of Three Decades\u003c\/em\u003e]; Adorno found in the closing scene not merit rewarded but grace [Adorno, \"Zur Schlußszene des Faust,\" \u003cem\u003eNoten zur Literatur II\u003c\/em\u003e]; and Ortega y Gasset confessed that the age had grown weary of the statue of Goethe and asked instead for the Goethe shipwrecked and lost in his own existence [Ortega y Gasset, \"Um einen Goethe von innen bittend,\" \u003cem\u003eNeue Rundschau\u003c\/em\u003e 43 (1932)]. The copy is especially meaningful beside the 1808 \u003cem\u003eFaust I\u003c\/em\u003e from the same ownership. The two volumes hold both parts of Goethe's lifelong project, joined now by provenance as well as by text.\u003c\/p\u003e\n\u003ch3\u003ePROVENANCE\u003c\/h3\u003e\n\u003cp\u003eFrom the same ownership stream as the 1808 \u003cem\u003eFaust I\u003c\/em\u003e; associated with Friedrich Günther, Prince of Schwarzburg-Rudolstadt.\u003c\/p\u003e\n\u003cp\u003eThe Heribert Tenschert Collection.\u003c\/p\u003e\n\u003ch3\u003eREFERENCES\u003c\/h3\u003e\n\u003cp\u003eGoedeke IV\/3, 614; Hagen 480; Kippenberg I, 2397; Hirzel A 462; Brieger 672; Wilpert\/Gühring 165.\u003c\/p\u003e\n\u003cp\u003eEckermann, \u003cem\u003eGespräche mit Goethe\u003c\/em\u003e, 17 February 1831; Goethe to Carl Friedrich Zelter, 4 September 1831; Thomas Mann, \"Goethe\" (1932); Thomas Mann, \"Goethe and Tolstoy,\" in \u003cem\u003eEssays of Three Decades\u003c\/em\u003e, trans. H. T. Lowe-Porter (New York: Knopf, 1947); Albrecht Schöne, \u003cem\u003eFaust. Kommentar\u003c\/em\u003e (Frankfurter Ausgabe, 1994); Ronald D. Gray, \u003cem\u003eGoethe the Alchemist\u003c\/em\u003e(Cambridge, 1952); Jane K. Brown, \u003cem\u003eGoethe's Faust: The German Tragedy\u003c\/em\u003e (Ithaca: Cornell University Press, 1986); Oswald Spengler, \u003cem\u003eDer Untergang des Abendlandes\u003c\/em\u003e (1918–1922); Marshall Berman, \u003cem\u003eAll That Is Solid Melts Into Air: The Experience of Modernity\u003c\/em\u003e (New York, 1982); Theodor W. Adorno, \"Zur Schlußszene des Faust,\" in \u003cem\u003eNoten zur Literatur II\u003c\/em\u003e(Frankfurt am Main: Suhrkamp, 1961); Erika Fischer-Lichte, review of \u003cem\u003eFaust I und II\u003c\/em\u003e (dir. Peter Stein), \u003cem\u003eTheatre Journal\u003c\/em\u003e53, no. 3 (2001), pp. 488–489; Wolfgang Menzel, \u003cem\u003eDie deutsche Literatur\u003c\/em\u003e (Stuttgart, 1836); José Ortega y Gasset, \"Um einen Goethe von innen bittend,\" \u003cem\u003eNeue Rundschau\u003c\/em\u003e 43 (1932); Osman Durrani, \"Biblical Borrowings in Goethe's \u003cem\u003eFaust\u003c\/em\u003e,\" \u003cem\u003eModern Language Review\u003c\/em\u003e.\u003c\/p\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":46929893228732,"sku":null,"price":27500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/Faust-Teil-2_1833-1-Photoroom.png?v=1781057717"},{"product_id":"die-wahlverwandtschaften-ein-roman-von-goethe-erster-zweyter-theil","title":"The first edition of Die Wahlverwandtschaften: Goethe's novel of elective affinities","description":"\u003cp\u003e\u003cstrong\u003eDie Wahlverwandtschaften. 2 Bände gebunden in einen.\u003c\/strong\u003e Tübingen, J. G. Cotta, 1809.\u003c\/p\u003e\n\u003cp\u003eFirst edition (Hagen 327 D1), two parts bound in one volume. Preliminary title and 306 pp.; 340 pp. Fischer records it in printing-paper and writing-paper states, with a small vellum issue for the author. Small octavo (160 × 100 mm).\u003c\/p\u003e\n\u003cp\u003eContemporary brown marbled calf with a gilt-fillet border to the covers and a richly gilt spine (very good; internally lightly and uniformly browned throughout, owing to the paper quality).\u003c\/p\u003e\n\u003cp\u003eMore than three decades separate \u003cem\u003eDie Wahlverwandtschaften\u003c\/em\u003e from \u003cem\u003eWerther\u003c\/em\u003e. The author who had transformed European literary culture in 1774 had become, by 1809, statesman, scientist, theatre director and the central intellectual figure of Weimar. Conceived first as a novella for \u003cem\u003eWilhelm Meisters Wanderjahre\u003c\/em\u003e, the project expanded after 1807 into an independent work. Its title holds its tension. \u003cem\u003eWahlverwandtschaften\u003c\/em\u003e, \"elective affinities,\" was a term from chemistry for the tendency of substances to leave one combination and form another. The German also shows its parts, \u003cem\u003eWahl\u003c\/em\u003e (choice) and \u003cem\u003eVerwandtschaft\u003c\/em\u003e (kinship), and the novel unfolds in the space between them, asking whether human bonds are governed by choice or by attractions with the force of natural law.\u003c\/p\u003e\n\u003cp\u003eGoethe had spent decades in the sciences, from botany and anatomy to optics and mineralogy, and here, a year before \u003cem\u003eZur Farbenlehre\u003c\/em\u003e, he turned a scientific concept into one of the most daring literary experiments of the age. He later singled it out to Eckermann as \"the only production of greater extent in which I am conscious of having laboured to set forth a pervading idea\" [Eckermann, 6 May 1827]. The experiment unfolds on a country estate, where Eduard and Charlotte draw the Captain and the young Ottilie into their household and hospitality becomes a study of shifting attraction. Goethe states the principle in Part I, chapter 4. Those natures which, on meeting, \"seize and mutually determine one another\" are called related. In his own notice in the \u003cem\u003eMorgenblatt\u003c\/em\u003e of 4 September 1809 he insisted there is \"only one nature,\" through whose rational freedom run traces of deeper necessity [Goethe, \"Notiz,\" \u003cem\u003eMorgenblatt\u003c\/em\u003e, 4 September 1809].\u003c\/p\u003e\n\u003cp\u003eContemporaries were often unsettled by the book's restraint; Wieland, however, at once recognized its richness, reporting that Goethe held it must be read \"three times\" [Wieland to Charlotte Geßner, 10 February 1810]. More than a century later Walter Benjamin made it central to modern criticism, finding in it a \"symbolism of death\" and closing his essay, \u003cem\u003eOnly for the sake of the hopeless ones have we been given hope\u003c\/em\u003e [Benjamin, \"Goethe's Elective Affinities,\" trans. Corngold, 309 and 356]. This copy preserves the novel as its first readers held it, two parts in contemporary marbled calf, the light browning the honest trace of Cotta's paper.\u003c\/p\u003e\n\u003ch3\u003ePROVENANCE\u003c\/h3\u003e\n\u003cp\u003eThe Heribert Tenschert Collection.\u003c\/p\u003e\n\u003ch3\u003eREFERENCES\u003c\/h3\u003e\n\u003cp\u003eHagen 327 D1; Goedeke IV\/3, 388 (181); Kippenberg I, 384; Hirzel A 273; Fischer 704; Speck 2065; Brieger 725; Wilpert\/Gühring 83.\u003c\/p\u003e\n\u003cp\u003eGoethe, \"Notiz [\u003cem\u003eDie Wahlverwandtschaften\u003c\/em\u003e],\" \u003cem\u003eMorgenblatt für gebildete Stände\u003c\/em\u003e, 4 September 1809; Eckermann, \u003cem\u003eGespräche mit Goethe\u003c\/em\u003e, 6 May 1827 and 9 February 1829; C. M. Wieland to Charlotte Geßner, 10 February 1810; Walter Benjamin, \"Goethes Wahlverwandtschaften,\" \u003cem\u003eGesammelte Schriften\u003c\/em\u003e I\/1.\u003c\/p\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":46938058490044,"sku":null,"price":5800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/Wahlverwandtschaften_1809-1-Photoroom.png?v=1781069276"},{"product_id":"die-wahlverwandtschaften-ein-roman-von-goethe-erster-zweyter-theil-1","title":"The first edition of Die Wahlverwandtschaften, in splendid signed Stroobants master bindings","description":"\u003cp\u003e\u003cstrong\u003eDie Wahlverwandtschaften. 2 Bände.\u003c\/strong\u003e Tübingen, J. G. Cotta, 1809.\u003c\/p\u003e\n\u003cp\u003eFirst edition (Hagen 327 D1), two volumes. Preliminary title and 306 pp.; 340 pp. Fischer records it in printing-paper and writing-paper states, with a small vellum issue for the author. Small octavo (160 × 96 mm).\u003c\/p\u003e\n\u003cp\u003eFull signed brown-red morocco master bindings by Jean Stroobants, Paris, c. 1900, with gilt-ruled border frames to both boards and richly gilt spine compartments (paper and bindings in exceptional preservation).\u003c\/p\u003e\n\u003cp\u003eThe same first edition as the preceding copy appears here in a very different guise. If the contemporary-bound volume preserves \u003cem\u003eDie Wahlverwandtschaften\u003c\/em\u003e as its first readers met it, this set reflects the esteem in which the novel was held by the bibliophile culture of fin-de-siècle Europe; by 1900 it had become a text worth preserving in its most distinguished physical form.\u003c\/p\u003e\n\u003cp\u003eThat transformation is embodied in the bindings. Jean Stroobants (1856–1922), trained in the Paris workshops of Vignaux and Pasquier and successor to Victor Champs at 4 rue Gît-le-Cœur, belonged to the generation that brought French artistic binding to one of its last peaks before the First World War. His work joined technical precision to elegant proportion and restrained ornament, qualities suited to Goethe's mature masterpiece. In full brown-red morocco with gilt-ruled frames and richly gilt spines, the set turns the 1809 first edition into a distinguished example of Belle Époque craftsmanship, the restraint of its decoration characteristic of Stroobants at his best.\u003c\/p\u003e\n\u003ch3\u003ePROVENANCE\u003c\/h3\u003e\n\u003cp\u003eThe Heribert Tenschert Collection.\u003c\/p\u003e\n\u003ch3\u003eREFERENCES\u003c\/h3\u003e\n\u003cp\u003eHagen 327 D1; Goedeke IV\/3, 388 (181); Kippenberg I, 384; Hirzel A 273; Fischer 704; Speck 2065; Brieger 725; Wilpert\/Gühring 83.\u003c\/p\u003e\n\u003cp\u003eOn the binder: Fléty, \u003cem\u003eDictionnaire des relieurs français\u003c\/em\u003e, p. 164; Devauchelle, \u003cem\u003eLa Reliure en France\u003c\/em\u003e, III, p. 278; CERL Provenance Database, Champs–Stroobants.\u003c\/p\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":46940037578940,"sku":null,"price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/Wahlverwandtschaften_1809_Maroquin-1-Photoroom.png?v=1781129057"},{"product_id":"die-leiden-des-jungen-werthers-erster-und-zweiter-theil","title":"The first edition of Goethe’s Werther: among the finest copies imaginable,  in contemporary gilt half-leather","description":"\u003cp\u003e\u003cstrong\u003e\u003cem\u003eDie Leiden des jungen Werthers. Erster und zweiter Theil\u003c\/em\u003e.\u003c\/strong\u003e Leipzig, Weygand'sche Buchhandlung, 1774.\u003c\/p\u003e\n\u003cp\u003eTwo parts in one volume, 224 pp. The first printing, the deluxe issue on strong paper, with the points recorded by Hagen, the errata notice on p. 224, the uncorrected page number 36 for 39, press-corrections on pp. 16 and 101, and all cancel leaves present. Small octavo (158 × 95 mm).\u003c\/p\u003e\n\u003cp\u003eWith the engraved title-vignette by Adam Friedrich Oeser, Goethe's drawing-master in Leipzig, and a woodcut vignette to the Second Part.\u003c\/p\u003e\n\u003cp\u003eContemporary half-leather, the spine richly gilt with floral tooling. On strong and entirely spotless paper, exceptionally fresh.\u003c\/p\u003e\n\u003cp\u003e❦\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWerther appeared in 1774, when Goethe was twenty-five, and it was an immediate sensation. It lifted an ambitious young lawyer from Frankfurt to the front rank of living writers, and its hero soon became a figure readers imitated, defended, condemned, dressed like, pitied and feared.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGoethe drew on the Wetzlar circle of Charlotte Buff and Johann Christian Kestner, and on the 1772 suicide of Karl Wilhelm Jerusalem, whose death stands behind \u003cem\u003eWerther's\u003c\/em\u003e. Yet the result was never simply a confession.\u003c\/p\u003e\n\u003cp\u003eGoethe later described its composition as almost \"somnabulistic\" (\u003cem\u003eDichtung und Wahrheit\u003c\/em\u003e, Bk. 13), and to Eckermann he gave the still more violent image, that \u003cem\u003eWerther\u003c\/em\u003e was \"a creation which I, like the pelican, fed with the blood of my own heart\" (Eckermann, 2 January 1824).\u003c\/p\u003e\n\u003cp\u003eWhat he had made from private experience was something more dangerous and more portable, a novel that allowed a generation to hear its own inwardness spoken aloud.\u003c\/p\u003e\n\u003cp\u003eReleased at the Leipzig autumn fair in September 1774, the first edition sold out at once; Weygand reprinted it twice before the year was out, and within little more than a decade some twenty pirated editions had appeared in Germany alone, the surest measure of a demand the legitimate trade could not satisfy.\u003c\/p\u003e\n\u003cp\u003eReaders did not encounter \u003cem\u003eWerther\u003c\/em\u003e as an invented character only; they recognized in him a style of feeling, a costume, a posture toward the world.\u003c\/p\u003e\n\u003cp\u003eAdmiration was accompanied almost at once by alarm. Lessing, who had known Jerusalem and saw the force of the final allusion to \u003cem\u003eEmilia Galotti\u003c\/em\u003e, wanted the ending cooled down, made harder, less seductive (Lessing to Eschenburg, 26 October 1774).\u003c\/p\u003e\n\u003cp\u003eIn England the \u003cem\u003eGentleman's Magazine\u003c\/em\u003e reported the 1784 suicide of a Miss Glover, noting that \"The Sorrows of Werther were found under her pillow\" (Atkins, \u003cem\u003eThe Testament of Werther\u003c\/em\u003e, p. 40; Bell, \u003cem\u003eEarly American Literature\u003c\/em\u003e 46 (2011)). In France it entered the literature of sensibility almost at once.\u003c\/p\u003e\n\u003cp\u003eNapoleon carried \u003cem\u003eWerther\u003c\/em\u003e through the Egyptian campaign and later told Goethe he had read it seven times [Jaeck 6] [Eckermann, 7 April 1829].\u003c\/p\u003e\n\u003cp\u003eAt Erfurt in 1808, when the conqueror of Europe finally met the author, he did not offer polite admiration only; he pressed Goethe on the construction of the plot, faulting one passage as untrue to nature, a judgement Goethe conceded was just (\u003cem\u003eAnnalen\u003c\/em\u003e, 1808).\u003c\/p\u003e\n\u003cp\u003eThe encounter is extraordinary for what it reveals, that by then \u003cem\u003eWerther\u003c\/em\u003e was no longer merely \"A German Story\" as it was called nearly thirty years earlier when the first English translation was released in London.\u003c\/p\u003e\n\u003cp\u003eFrom the beginning the novel was taken with extraordinary literalness. Young men took up Werther's own dress, the blue coat and yellow waistcoat, in what became known as \u003cem\u003eWerther fever\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThe book, with that style of dress, was banned in Leipzig in 1775, where the novel had first appeared; the theological faculty there having moved to suppress it at the start of that year, and it was banned in Denmark and Italy as well [Sauerland, \"Wertherfieber,\" EGO — Leibniz-Institut für Europäische Geschichte; Atkins, \u003cem\u003eThe Testament of Werther\u003c\/em\u003e, p. 40; Bell, \u003cem\u003eEarly American Literature\u003c\/em\u003e 46 (2011); \u003cem\u003eLancet Psychiatry\u003c\/em\u003e, 2014].\u003c\/p\u003e\n\u003cp\u003eContemporaries also feared it would prompt imitative suicides. Whether it actually did so remains debated, the surviving evidence being largely anecdotal (\u003cem\u003eLancet Psychiatry\u003c\/em\u003e, 2014), but the fear proved lasting, and the phenomenon of copycat suicide eventually took its name from the book, the \"Werther effect,\" a term coined by the sociologist David Phillips in 1974 (Phillips, \u003cem\u003eAmerican Sociological Review\u003c\/em\u003e, 1974).\u003c\/p\u003e\n\u003cp\u003eThe novel was not simply read; it was carried into conduct, clothing and gesture.\u003c\/p\u003e\n\u003ch3\u003ePROVENANCE\u003c\/h3\u003e\n\u003cp\u003eThe Heribert Tenschert Collection.\u003c\/p\u003e\n\u003ch3\u003eREFERENCES\u003c\/h3\u003e\n\u003cp\u003eHagen 80; Goedeke IV\/3, 163, 1; Kippenberg I, 3039.\u003c\/p\u003e\n\u003cp\u003eJ. P. Eckermann, \u003cem\u003eGespräche mit Goethe\u003c\/em\u003e; Goethe, \u003cem\u003eDichtung und Wahrheit\u003c\/em\u003e, Bk. 13, and \u003cem\u003eAnnalen\u003c\/em\u003e, 1808; R. M. Meyer, \u003cem\u003eGoethe\u003c\/em\u003e, I; \u003cem\u003eMonthly Review\u003c\/em\u003e, June 1785; \u003cem\u003eGentleman's Magazine\u003c\/em\u003e, November 1784; E. G. Jaeck, \u003cem\u003eMadame de Staël and the Spread of German Literature\u003c\/em\u003e (Oxford, 1915); G. Lukács, \u003cem\u003eGoethe and His Age\u003c\/em\u003e (Merlin Press, 1968); M. Swales, \u003cem\u003eGoethe: The Sorrows of Young Werther\u003c\/em\u003e (Cambridge, 1987); T. J. Reed, \u003cem\u003eThe Classical Centre\u003c\/em\u003e (Oxford, 1980); N. Boyle, \u003cem\u003eGoethe: The Poet and the Age\u003c\/em\u003e, I (Oxford, 1991); D. P. Phillips, \"The Influence of Suggestion on Suicide,\" \u003cem\u003eAmerican Sociological Review\u003c\/em\u003e 39 (1974); \"Goethe's \u003cem\u003eWerther\u003c\/em\u003e and its Effects,\" \u003cem\u003eLancet Psychiatry\u003c\/em\u003e (2014).\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003ch3 dir=\"ltr\"\u003e\u003cspan\u003eFROM THE HERIBERT TENSCHERT COLLECTION\u003c\/span\u003e\u003c\/h3\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":46940091580604,"sku":null,"price":69000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/Werther_1774-1.png?v=1781131514"},{"product_id":"die-leiden-des-jungen-werthers-erster-und-zweiter-theil-1","title":"Die Leiden des jungen Werthers. Erster und zweiter Theil","description":"\u003cp\u003e\u003cstrong\u003eDie Leiden des jungen Werthers. Erster und zweiter Theil.\u003c\/strong\u003e Leipzig, Weygand'sche Buchhandlung, 1774.\u003c\/p\u003e\n\u003cp\u003eSecond printing of the first edition, issued in the same year, two parts in one volume. It is the \u003cem\u003eDoppeldruck\u003c\/em\u003e of the first edition recorded by Hagen, which corrects all the printing errors listed in the first printing and, in place of the errata notice on the final page, carries a woodcut of a scythe with a winged hourglass. Small octavo (160 × 93 mm).\u003c\/p\u003e\n\u003cp\u003eContemporary blond calf, the spine richly gilt with floral tooling (front joint slightly cracked; otherwise a very good copy).\u003c\/p\u003e\n\u003cp\u003e❦\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFor the history of the novel and the significance of the 1774 first edition, see our listing of the first printing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis copy belongs to that first year of reception, before \u003cem\u003eWerther\u003c\/em\u003e had become a classic, a school text, or a monument of German literature.\u003c\/p\u003e\n\u003cp\u003eIt was still a contemporary work moving rapidly through the hands of readers eager to encounter the book everyone was discussing, and the contemporary blond calf gives it a distinctly eighteenth-century presence, an object rooted in the year of publication and the reception that immediately followed.\u003c\/p\u003e\n\u003ch3\u003ePROVENANCE\u003c\/h3\u003e\n\u003cp\u003eThe Heribert Tenschert Collection.\u003c\/p\u003e\n\u003ch3\u003eREFERENCES\u003c\/h3\u003e\n\u003cp\u003eHagen 80 (the D1a \u003cem\u003eDoppeldruck\u003c\/em\u003e); Goedeke IV\/3, 163; Kippenberg I, 3039; Hirzel A 60; Speck 794.\u003c\/p\u003e\n\u003cp\u003eJ. P. Eckermann, \u003cem\u003eGespräche mit Goethe\u003c\/em\u003e; M. Swales, \u003cem\u003eGoethe: The Sorrows of Young Werther\u003c\/em\u003e (Cambridge, 1987); T. J. Reed, \u003cem\u003eThe Classical Centre\u003c\/em\u003e (Oxford, 1980).\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":46940140077244,"sku":null,"price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/Werther_1774_Ganzleder-1.png?v=1781133371"},{"product_id":"torquato-tasso","title":"Torquato Tasso: The first separate edition","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cstrong\u003e\u003cspan\u003eTorquato Tasso.\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e Leipzig, G. J. Göschen, 1790.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eTitle-page and 222 pp. Small octavo (153 × 96 mm). Contemporary red morocco with multiple gilt fillet and floral border frames to both boards, the gilt compartmented spine with vase and lyre ornaments (period luxury binding, immaculately preserved).\u003c\/p\u003e\n\u003cp\u003ePublished in the same year as \u003cem\u003eFaust. Ein Fragment\u003c\/em\u003e, \u003cem\u003eTorquato Tasso\u003c\/em\u003e stands at another threshold in Goethe's development. If \u003cem\u003eWerther\u003c\/em\u003e made him famous and the Italian journey changed how he saw the world, \u003cem\u003eTasso\u003c\/em\u003e is the work in which those experiences were subjected to a new discipline, among the earliest and most complete expressions of the classical ideal that would define the Weimar years. Goethe endorsed Ampère's description of the play as an \"elevated \u003cem\u003eWerther\u003c\/em\u003e,\" confirming Ampère's reading that, after the strains of his first decade at the Weimar court, he had taken up \u003cem\u003eTasso\u003c\/em\u003e in Italy to free himself from those recollections [Eckermann, 3 May 1827].\u003c\/p\u003e\n\u003cp\u003eThe bourgeois world of \u003cem\u003eWerther\u003c\/em\u003e gives way to the refined air of the ducal court at Ferrara, where rank, etiquette and patronage become inseparable from the drama. Tasso is destroyed neither by war nor fate but within an ordered, cultivated society, as the relationship between poetic sensibility and the structures meant to contain it grows ever more fragile. The work occupied Goethe for almost a decade, begun in Weimar in 1780, recast in verse and completed in 1789, its history mirroring the transformation from the turbulence of \u003cem\u003eSturm und Drang\u003c\/em\u003e to the restraint of Weimar Classicism. Where \u003cem\u003eWerther\u003c\/em\u003e is rooted in German bourgeois life and \u003cem\u003eGötz\u003c\/em\u003e in the German past, \u003cem\u003eTasso\u003c\/em\u003e takes an Italian poet at an Italian court.\u003c\/p\u003e\n\u003cp\u003eThe drama carries an unusually personal charge, and Goethe owned it as his own. He set the poet Tasso against the courtier Antonio as \"a prosaic contrast,\" observed that its court life and love affairs \"were at Weimar as they were in Ferrara,\" and called the play \"bone of my bone, and flesh of my flesh\" [Eckermann, 6 May 1827]. T. J. Reed has called it Goethe's most self-revealing classical drama [Reed, \u003cem\u003eThe Classical Centre\u003c\/em\u003e, pp. 165 ff.]. The present copy is immaculate, one of the most beautiful known of this first edition; a copy of so famous a play in so elaborate a contemporary luxury binding is one we have never before encountered.\u003c\/p\u003e\n\u003ch3\u003ePROVENANCE\u003c\/h3\u003e\n\u003cp\u003eThe Heribert Tenschert Collection.\u003c\/p\u003e\n\u003ch3\u003eREFERENCES\u003c\/h3\u003e\n\u003cp\u003eHagen 200; Goedeke IV\/3, 291; Kippenberg I, 365; Hirzel A 162; Speck 1617; Brieger 718; Wilpert\/Gühring 46.\u003c\/p\u003e\n\u003cp\u003eGoethe, \u003cem\u003eItalienische Reise\u003c\/em\u003e; J. P. Eckermann, \u003cem\u003eGespräche mit Goethe\u003c\/em\u003e, 3 and 6 May 1827; T. J. Reed, \u003cem\u003eThe Classical Centre\u003c\/em\u003e(Oxford, 1980), pp. 165 ff.\u003c\/p\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":46940259319996,"sku":null,"price":14500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/Tasso_1790_Maroquin-1.png?v=1781142673"},{"product_id":"wilhelm-meisters-wanderjahre-oder-die-entsagenden","title":"The first edition of the first version of Wilhelm Meisters Wanderjahre, from the library of Victor Lange","description":"\u003cp\u003e\u003cstrong\u003eWilhelm Meisters Wanderjahre oder Die Entsagenden.\u003c\/strong\u003e Stuttgart and Tübingen, J. G. Cotta, 1821.\u003c\/p\u003e\n\u003cp\u003eFirst edition, the first (1821) version of the novel, shorter than and distinct from the expanded text Goethe published in the \u003cem\u003eAusgabe letzter Hand\u003c\/em\u003e of 1829; with the poems and maxims on four preliminary leaves. Four unnumbered preliminary leaves and 550 pp. Small octavo (148 × 94 mm).\u003c\/p\u003e\n\u003cp\u003eContemporary black half-morocco with rich Romantic-period spine gilding (very good to near-fine; internally beautiful and almost free of spotting), from the library of Victor Lange.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eWilhelm Meisters Wanderjahre\u003c\/em\u003e is not a simple sequel to the \u003cem\u003eLehrjahre\u003c\/em\u003e but something stranger and more radical. Goethe reworked and greatly expanded the novel for the \u003cem\u003eAusgabe letzter Hand\u003c\/em\u003e of 1829, so the present 1821 text is the first and shorter version. Its structure resists the expectations of the traditional novel. Novellas, tales, letters, conversations, aphorisms, songs and pedagogical fragments are assembled under a governing principle of \u003cem\u003eEntsagung\u003c\/em\u003e, renunciation. The late style abandons the developmental confidence of the \u003cem\u003eLehrjahre\u003c\/em\u003e for a more open, discontinuous vision of education, work and human limitation. Reception has always reflected that difficulty; H. R. Vaget counts it among Goethe's most advanced achievements [Vaget].\u003c\/p\u003e\n\u003cp\u003eThe provenance gives the copy a particular resonance. Victor Lange (1908–1996), the Princeton Germanist who helped shape American Goethe studies and was one of the three executive editors of \u003cem\u003eGoethe: The Collected Works\u003c\/em\u003e, with Eric Blackall and Cyrus Hamlin, owned it; Princeton's departmental history names him a founding figure of its modern German department.\u003c\/p\u003e\n\u003ch3\u003ePROVENANCE\u003c\/h3\u003e\n\u003cp\u003eVictor Lange (1908–1996), Germanist, Princeton professor, editor and translator.\u003c\/p\u003e\n\u003cp\u003eThe Heribert Tenschert Collection.\u003c\/p\u003e\n\u003ch3\u003eREFERENCES\u003c\/h3\u003e\n\u003cp\u003eGoedeke IV\/3, 434; Hagen 425; Hirzel A 369; Meyer 1329; Kippenberg I, 402; Borst 1359.\u003c\/p\u003e\n\u003cp\u003eH. R. Vaget, in \u003cem\u003eKritisches Lexikon der deutschsprachigen Gegenwartsliteratur\u003c\/em\u003e; \u003cem\u003eGoethe's Collected Works\u003c\/em\u003e (Princeton); Princeton University Department of German, history of Victor Lange.\u003c\/p\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":46940319416508,"sku":null,"price":5000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/Wanderjahre_Halbleder_1821-1-Photoroom.png?v=1781145841"},{"product_id":"das-romische-carneval-the-famously-rare-first-edition-entirely-uncut-and-preserving-both-illustrated-wrappers","title":"Das Römische Carneval: the famously rare first edition, entirely uncut and preserving both illustrated wrappers","description":"\u003cp\u003e\u003cstrong\u003eDas Römische Carneval.\u003c\/strong\u003e Berlin, printed by Johann Friedrich Unger; Weimar and Gotha, in commission with Carl Wilhelm Ettinger, 1789.\u003c\/p\u003e\n\u003cp\u003eFirst edition, one of only 318 copies. Title with large engraved vignette, 69 pp., [1] errata. Quarto (278 × 212 mm).\u003c\/p\u003e\n\u003cp\u003eWith the celebrated title-vignette of a vase and three masks designed by Johann Heinrich Lips, and twenty original hand-coloured plates.\u003c\/p\u003e\n\u003cp\u003eContemporary interim boards, both illustrated wrappers preserved (exceptionally fine; in an edition of only 318 copies, an entirely uncut example preserving both illustrated wrappers is of the greatest rarity).\u003c\/p\u003e\n\u003cp\u003e❦\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe most lavishly illustrated book of Goethe's lifetime, so rare he could not reacquire his own.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eGoethe arrived in Rome in 1786 already famous as the author of \u003cem\u003eGötz\u003c\/em\u003e and \u003cem\u003eWerther\u003c\/em\u003e. There he turned to close observation, studying the city's architecture, ritual and daily life with the attention he had given to nature.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eDas Römische Carneval\u003c\/em\u003e emerged from that period of looking. Published in 1789, a year after his return, it turns away from the antiquities that had drawn travellers south and fixes instead on one of Rome's most ephemeral events, the annual Carnival. The choice was not obvious. He first saw the Carnival in February 1787 and returned to it the following year, describing its processions, masks, games and crowds with the same close attention he gave to natural phenomena. The twenty plates follow that sequence: the carriages and maskers crowding the Corso; the stock figures of Pulcinella, the Quaccheri and the advocates; the skirmishes of confetti; the riderless \u003cem\u003eBarberi\u003c\/em\u003e horse-race down the Corso; and the closing night of the \u003cem\u003emoccoli\u003c\/em\u003e, when the crowd presses through the streets crying \u003cem\u003e\"Sia ammazzato chi non porta moccolo\"\u003c\/em\u003e [Goethe, \u003cem\u003eDas Römische Carneval\u003c\/em\u003e; Batley, \u003cem\u003eGoethe-Jahrbuch\u003c\/em\u003e 105 (1988)]. Goethe presents the Carnival not as a spectacle staged for the people but as a festival the people give themselves, a few days in which the distinction between high and low seems for a moment to cease and all Rome goes masked. Among the figures he describes, and Schütz drew, are the Pulcinella, whose horn slyly recalls the ancient garden-god; the mock Advocate who waylays strangers with a book of absurd charges and threats of a lawsuit; and the Quaccheri in their old-fashioned silks [Goethe, \u003cem\u003eDas Römische Carneval\u003c\/em\u003e].\u003c\/p\u003e\n\u003cp\u003eSiegfried Unseld called it \"the most luxurious edition of a single work produced during Goethe's lifetime\" [Unseld, \u003cem\u003eGoethe and His Publishers\u003c\/em\u003e, p. 80]. Printed in only 318 copies, it sold out at once; Goethe complained that too few had been made, and, having given his own copy to the library at Wilhelmshöhe, near Kassel, could not obtain another, even finding himself outbid for a copy at auction. The deluxe edition was issued with a \u003cem\u003eNachricht für den Buchbinder\u003c\/em\u003e, a printed binder's-instruction slip not recorded in the standard bibliographies. Its making gathered the Weimar circle: drawings by Johann Georg Schütz, of the German artists' circle in Rome; engraving by Georg Melchior Kraus, director of the Weimar Drawing Academy; hand-colouring by that academy's pupils; the title-vignette by Lips, the Zürich engraver who had earlier worked with Goethe on Lavater's \u003cem\u003ePhysiognomische Fragmente\u003c\/em\u003e; and printing by Unger in the Didot types for which he held the German monopoly—a typographic achievement admired throughout Germany. The present copy preserves all of this in its most desirable state: interim boards, both wrappers, full uncut margins, and the complete sequence of twenty hand-coloured plates, substantially as its first subscribers met it in 1789.\u003c\/p\u003e\n\u003ch3\u003ePROVENANCE\u003c\/h3\u003e\n\u003cp\u003eThe Heribert Tenschert Collection.\u003c\/p\u003e\n\u003ch3\u003eREFERENCES\u003c\/h3\u003e\n\u003cp\u003eHagen 193; Goedeke IV\/3, 470 (III); Kippenberg I, 363; Hirzel A 156–157; Speck 2140; Brieger 711; Wilpert\/Gühring 41; Lipperheide Sn 15–16; Rümann 353; Schütterle, \u003cem\u003eUntadelige Schönheit\u003c\/em\u003e (1993), p. 44, no. 1; \u003cem\u003eWiederholte Spiegelungen. Weimarer Klassik\u003c\/em\u003e (1999), no. 17.\u003c\/p\u003e\n\u003cp\u003eGoethe, \u003cem\u003eBriefe an Charlotte von Stein\u003c\/em\u003e (14 and 20 December 1786); E. T. A. Batley, \"Das Römische Karneval oder Gesellschaft und Geschichte,\" \u003cem\u003eGoethe-Jahrbuch\u003c\/em\u003e 105 (1988), pp. 128 ff.; Siegfried Unseld, \u003cem\u003eGoethe and His Publishers\u003c\/em\u003e(Chicago, 2019).\u003c\/p\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":47012291379388,"sku":null,"price":103000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/Roem-Carneval_Orig-Umschlaege-4.jpg?v=1782773007"},{"product_id":"the-doves-press-faust-both-parts-among-only-twenty-five-sets-on-vellum","title":"The Doves Press Faust, both parts among only twenty-five sets on vellum","description":"\u003cp\u003e\u003cstrong\u003eFaust. Eine Tragödie.\u003c\/strong\u003e Parts I and II. London, Doves Press, 1906 (Part I) and 1910 (Part II).\u003c\/p\u003e\n\u003cp\u003eTwo volumes, printed in black and red. Part I (1906), one of 25 copies on vellum (with 300 on paper). Part II (1910), one of 25 copies on vellum (with 250 on paper). The vellum printing is the deluxe edition of both parts. Small quarto (235 × 165 mm).\u003c\/p\u003e\n\u003cp\u003eOriginal flexible vellum bindings signed by the Doves Bindery (near-pristine; apart from minimal flecking to the head- and fore-edges, an otherwise immaculate copy).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThis vellum set is the Doves Press answer to \u003cem\u003eFaust\u003c\/em\u003e as world monument.\u003c\/strong\u003e By the time Cobden-Sanderson printed it, the press had already placed Dante, Milton and the English Bible within its canon; this \u003cem\u003eFaust\u003c\/em\u003e is, beside the Bible, among the principal achievements of the Doves Press, and to add Goethe was to make a world-literary claim of the first order.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eFaust\u003c\/em\u003e is Goethe's most restless work, by turns fragment, tragedy, wager, metaphysics, love story, satire, classical vision and redemption drama, and the Doves Press translates that restlessness into an aesthetic monument with black-and-red typography and spacious proportion.\u003c\/p\u003e\n\u003ch3\u003ePROVENANCE\u003c\/h3\u003e\n\u003cp\u003eThe Heribert Tenschert Collection.\u003c\/p\u003e\n\u003ch3\u003eREFERENCES\u003c\/h3\u003e\n\u003cp\u003eTIDCOMBE DP10 \u0026amp; 20; Marianne Tidcombe, \u003cem\u003eThe Doves Press\u003c\/em\u003e (British Library, 2002); Tomkinson, \u003cem\u003eA Select Bibliography of the Principal Modern Presses\u003c\/em\u003e; Colin Franklin, \u003cem\u003eThe Private Presses\u003c\/em\u003e; University of Missouri Special Collections, \u003cem\u003eDoves Press\u003c\/em\u003e exhibition.\u003c\/p\u003e\n\u003cp\u003eTidcombe DP10 (Part I, 1906; 300 on paper, 25 on vellum) and DP20 (Part II, 1910; 250 on paper, 25 on vellum); Tomkinson 10 and 20.\u003c\/p\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":47012969775292,"sku":null,"price":48300.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/Faust-T1_Doves-Press_Perg-1.jpg?v=1782797336"},{"product_id":"the-third-druck-fur-die-hundert-of-the-west-ostlicher-divan-in-a-signed-sonntag-vellum","title":"The third Druck für die Hundert of the West-östlicher Divan, in a signed Sonntag vellum","description":"\u003cp\u003e\u003cstrong\u003eWest-östlicher Divan.\u003c\/strong\u003e Munich, Hans von Weber, 1910.\u003c\/p\u003e\n\u003cp\u003eOne of 100 copies of the third \u003cem\u003eDruck für die Hundert\u003c\/em\u003e, printed on uncut handmade paper; copy no. 87, printed for Richard Laukhuff. Chancery folio (278 × 187 mm).\u003c\/p\u003e\n\u003cp\u003eOriginal vellum binding with gilt fillets and title to cover, signed Carl Sonntag Jr., Leipzig (immaculate; uncut handmade paper).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGoethe's \u003cem\u003eWest-östlicher Divan\u003c\/em\u003e is the most concrete poetic embodiment of his idea of \u003cem\u003eWeltliteratur\u003c\/em\u003e.\u003c\/strong\u003e To Eckermann in 1827 he declared that the epoch of world literature was at hand [Eckermann, 31 January 1827]; in the \u003cem\u003eDivan\u003c\/em\u003e itself he wrote that Orient and Occident were no longer to be separated. The book grew from his encounter with Hafiz through Hammer-Purgstall and turned German poetry outward toward Persian and Islamic lyric. This Hans von Weber edition gives that idea a refined bibliophile form, from the Munich luxury-publishing culture that made canonical texts into ceremonial objects.\u003c\/p\u003e\n\u003cp\u003eCopy no. 87 was printed for Richard Laukhuff in Cleveland, whose bookstore became a conduit for modern and avant-garde European literature in the American Midwest. A Munich luxury \u003cem\u003eDivan\u003c\/em\u003e printed for Laukhuff makes Goethe's \u003cem\u003eWeltliteratur\u003c\/em\u003e idea material, East and West relayed through Weimar, Munich and Cleveland, held together by the subscription, the binding and the named copy.\u003c\/p\u003e\n\u003ch3\u003ePROVENANCE\u003c\/h3\u003e\n\u003cp\u003eRichard Laukhuff, Cleveland bookseller; copy no. 87 printed for him by name.\u003c\/p\u003e\n\u003cp\u003eThe Heribert Tenschert Collection.\u003c\/p\u003e\n\u003ch3\u003eREFERENCES\u003c\/h3\u003e\n\u003cp\u003eHans von Weber, \u003cem\u003eDrucke für die Hundert\u003c\/em\u003e; Julius Rodenberg, \u003cem\u003eDeutsche Pressen\u003c\/em\u003e (Zürich, 1925); Eckermann, \u003cem\u003eGespräche mit Goethe\u003c\/em\u003e, 31 January 1827; Goethe, \u003cem\u003eWest-östlicher Divan\u003c\/em\u003e (\u003cem\u003eMoganni Nameh\u003c\/em\u003e; \u003cem\u003eGingo Biloba\u003c\/em\u003e); Hendrik Birus (ed.), \u003cem\u003eWest-östlicher Divan\u003c\/em\u003e (Deutscher Klassiker Verlag, 1994).\u003c\/p\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":47012985569468,"sku":null,"price":6500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/West-Oestlicher-Divan_1910-1.jpg?v=1782798324"},{"product_id":"one-of-one-hundred-of-the-west-ostlicher-divan-in-a-ravishing-signed-carl-sonntag-master-binding","title":"One of one hundred of the West-östlicher Divan, in a ravishing signed Carl Sonntag master binding","description":"\u003cp\u003e\u003cstrong\u003eWest-östlicher Divan.\u003c\/strong\u003e Munich, Hans von Weber, 1910.\u003c\/p\u003e\n\u003cp\u003eChancery folio (275 × 187 mm). Brown-red original morocco master binding with rich spine gilding, signed Carl Sonntag Jr., Leipzig (paper and binding in excellent preservation).\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cstrong\u003e\u003cspan\u003eGoethe's \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eWest-östlicher Divan\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e is the most concrete poetic embodiment of his idea of \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eWeltliteratur\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e To Eckermann in 1827 he declared that the epoch of world literature was at hand \u003cspan data-placeholder-token=\"true\" class=\"text-token-text-primary cursor-text rounded-sm\"\u003e[Eckermann, 31 January 1827]\u003c\/span\u003e; in the \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eDivan\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e itself he wrote that Orient and Occident were no longer to be separated. The book grew from his encounter with Hafiz through Hammer-Purgstall and turned German poetry outward toward Persian and Islamic lyric. This Hans von Weber edition gives that idea a refined bibliophile form, from the Munich luxury-publishing culture that made canonical texts into ceremonial objects.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003ePROVENANCE\u003c\/h3\u003e\n\u003cp\u003eThe Heribert Tenschert Collection.\u003c\/p\u003e\n\u003ch3\u003eREFERENCES\u003c\/h3\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eHans von Weber, \u003c\/span\u003e\u003cem data-start=\"682\" data-end=\"706\"\u003eDrucke für die Hundert\u003c\/em\u003e\u003cspan\u003e; Julius Rodenberg, \u003c\/span\u003e\u003cem data-start=\"726\" data-end=\"744\"\u003eDeutsche Pressen\u003c\/em\u003e\u003cspan\u003e (Zürich, 1925), which records Carl Sonntag Jr. among the binders of the finest German press books; Eckermann, \u003c\/span\u003e\u003cem data-start=\"855\" data-end=\"877\"\u003eGespräche mit Goethe\u003c\/em\u003e\u003cspan\u003e, 31 January 1827; Goethe, \u003c\/span\u003e\u003cem data-start=\"904\" data-end=\"926\"\u003eWest-östlicher Divan\u003c\/em\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cem data-start=\"928\" data-end=\"943\"\u003eMoganni Nameh\u003c\/em\u003e\u003cspan\u003e; \u003c\/span\u003e\u003cem data-start=\"945\" data-end=\"959\"\u003eGingo Biloba\u003c\/em\u003e\u003cspan\u003e); Hendrik Birus (ed.), \u003c\/span\u003e\u003cem data-start=\"983\" data-end=\"1005\"\u003eWest-östlicher Divan\u003c\/em\u003e\u003cspan\u003e (Deutscher Klassiker Verlag, 1994).\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":47012994875580,"sku":null,"price":9000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/West-Oestlicher-Divan_Maroquin-1.jpg?v=1782799029"},{"product_id":"the-doves-press-iphigenie-auf-tauris","title":"The Doves Press Iphigenie auf Tauris","description":"\u003cp\u003e\u003cstrong\u003eIphigenie auf Tauris.\u003c\/strong\u003e London, Doves Press, 1912.\u003c\/p\u003e\n\u003cp\u003eDeluxe edition, one of 20 copies printed in two colours on snow-white vellum (Tidcombe DP28, Tomkinson 57 record 200 on paper, 20 on vellum, and 12 further vellum copies with gold initials by Graily Hewitt). 110 pp. and one leaf. Small quarto (230 × 165 mm).\u003c\/p\u003e\n\u003cp\u003eOriginal orange-red morocco with gilt fillets to spine and covers, signed \"The Doves Bindery C-S 1912\" (pristine; binding and vellum text-block in exceptional state).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFew Goethe texts better suit the Doves ideal.\u003c\/strong\u003e \u003cem\u003eIphigenie auf Tauris\u003c\/em\u003e is his most serene classical drama, Greek myth turned into a play of restraint, humane reason and reconciliation. The Doves Press, founded by Cobden-Sanderson with Emery Walker, pursued an equally severe ideal of pure typography and proportion. Cobden-Sanderson's principle that \"the Book Beautiful\" must be beautiful as a whole [Cobden-Sanderson, \"The Book Beautiful,\" 1902] finds an exact embodiment here. The text's classical restraint and the press's typographic restraint clarify one another, Doves classicism and Goethe's classicism meeting in the authority of measured form.\u003c\/p\u003e\n\u003cp\u003eIt is distinct from both the paper edition and the 12-copy gilt-initial subgroup, and is bound by the Doves Bindery as a unified Arts and Crafts object.\u003c\/p\u003e\n\u003ch3\u003ePROVENANCE\u003c\/h3\u003e\n\u003cp\u003eThe Heribert Tenschert Collection.\u003c\/p\u003e\n\u003ch3\u003eREFERENCES\u003c\/h3\u003e\n\u003cp\u003eTidcombe DP28; Tomkinson 57; Marianne Tidcombe, \u003cem\u003eThe Doves Press\u003c\/em\u003e (British Library, 2002); Colin Franklin, \u003cem\u003eThe Private Presses\u003c\/em\u003e (1969); T. J. Cobden-Sanderson, \"The Book Beautiful,\" in \u003cem\u003eEcce Mundus\u003c\/em\u003e (Doves Press, 1902); Alexander Turnbull Library, \u003cem\u003eDoves Press Iphigenie\u003c\/em\u003e record.\u003c\/p\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":47012999037116,"sku":null,"price":34500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/Iphigenie_Doves-Press_Perg-1.jpg?v=1782799518"},{"product_id":"the-doves-press-iphigenie-auf-tauris-one-of-only-twenty-on-snow-white-vellum-in-signed-doves-bindery-morocco","title":"The Doves Press Iphigenie auf Tauris, one of only twenty on snow-white vellum, in signed Doves Bindery morocco","description":"\u003cp\u003e\u003cstrong\u003eIphigenie auf Tauris.\u003c\/strong\u003e London, Doves Press, 1912.\u003c\/p\u003e\n\u003cp\u003eDeluxe edition, one of 20 copies printed in two colours on snow-white vellum (Tidcombe DP28, Tomkinson 57 record 200 on paper, 20 on vellum, and 12 further vellum copies with gold initials by Graily Hewitt). 110 pp. and one leaf. Small quarto (230 × 165 mm).\u003c\/p\u003e\n\u003cp\u003eOriginal orange-red morocco with gilt fillets to spine and covers, signed \"The Doves Bindery C-S 1912\" (pristine; binding and vellum text-block in exceptional state).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAmong Goethe's own favourite works, \u003cem\u003eIphigenie auf Tauris\u003c\/em\u003e remained for him the achievement of youth that could never be repeated.\u003c\/strong\u003e Speaking to Eckermann late in life, he reflected: \u003cem\u003e\"I succeeded with my Iphigenia and Tasso, because I was young enough to penetrate and animate the ideal of the stuff with sensual feeling. At my present age, such ideal subjects would no longer be suited to me\u003cspan\u003e, and I do right in selecting those which comprise within themselves a certain degree of sensuality.\u003c\/span\u003e\"\u003c\/em\u003e [Eckermann]. The remark reveals how Goethe himself understood the play, not as an abstract exercise in Classicism, but as a rare balance of ideal form and living human feeling.\u003c\/p\u003e\n\u003cp\u003eThat balance made \u003cem\u003eIphigenie\u003c\/em\u003e an ideal choice for the Doves Press. Founded by T. J. Cobden-Sanderson and Emery Walker, the press sought an equally disciplined harmony of typography, proportion and craftsmanship. Cobden-Sanderson's belief that \u003cem\u003e\"The Book Beautiful\"\u003c\/em\u003e must be beautiful as a whole finds one of its purest expressions here. Printed in black and red on snow-white vellum and preserved in its original Doves Bindery morocco, the edition transforms Goethe's classical drama into an Arts and Crafts masterpiece, where literary restraint and typographic restraint illuminate one another.\u003c\/p\u003e\n\u003cp\u003eDistinct from both the paper issue and the twelve vellum copies illuminated by Graily Hewitt, this is one of only twenty vellum copies issued in the publisher's original binding.\u003c\/p\u003e\n\u003ch3\u003ePROVENANCE\u003c\/h3\u003e\n\u003cp\u003eThe Heribert Tenschert Collection.\u003c\/p\u003e\n\u003ch3\u003eREFERENCES\u003c\/h3\u003e\n\u003cp\u003eTidcombe DP28; Tomkinson 57; Marianne Tidcombe, \u003cem\u003eThe Doves Press\u003c\/em\u003e (British Library, 2002); Colin Franklin, \u003cem\u003eThe Private Presses\u003c\/em\u003e (1969); T. J. Cobden-Sanderson, \u003cem\u003eThe Book Beautiful\u003c\/em\u003e, in \u003cem\u003eEcce Mundus\u003c\/em\u003e (Doves Press, 1902); Eckermann, \u003cem\u003eGespräche mit Goethe\u003c\/em\u003e; Alexander Turnbull Library, \u003cem\u003eDoves Press Iphigenie\u003c\/em\u003e record.\u003c\/p\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":47013023482044,"sku":null,"price":34500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/Iphigenie_Doves-Press_Perg-2-Ex-1.jpg?v=1782801238"},{"product_id":"the-bremer-presse-urfaust-one-of-270-in-signed-frieda-thiersch-vellum","title":"The Bremer Presse Urfaust, one of 270, in signed Frieda Thiersch vellum","description":"\u003cp\u003e\u003cstrong\u003eFaust. Nach ältester Aufzeichnung 1771–1775 (\u003cem\u003eUrfaust\u003c\/em\u003e).\u003c\/strong\u003e Bad Tölz, Bremer Presse, 1920.\u003c\/p\u003e\n\u003cp\u003eOne of 270 numbered copies on handmade paper, 110 pp., the seventh book of the Bremer Presse, a very early printing of the press. Chancery folio (270 × 167 mm).\u003c\/p\u003e\n\u003cp\u003eOriginal vellum with gilt fillet borders to covers and spine, signed \"Bremer Binderei F. Thiersch\" (immaculately preserved; handmade-paper text in exceptional condition).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Bremer Presse \u003cem\u003eUrfaust\u003c\/em\u003e closes the sequence by returning to the beginning.\u003c\/strong\u003e This is neither the completed \u003cem\u003eFaust\u003c\/em\u003e nor the 1790 \u003cem\u003eFragment\u003c\/em\u003e, but the earliest stratum of the work, the pre-classical text that survives only because Luise von Göchhausen, a lady-in-waiting at the Weimar court, made a private copy of Goethe's early manuscript; the original was lost, and the Göchhausen copy was rediscovered in 1887. That history of loss and recovery makes the 1920 Bremer Presse edition conceptually exact. The press, founded by Willy Wiegand and Ludwig Wolde, was among the great German private presses of the century; Anna Simons contributed initials and ornament, and Frieda Thiersch gave its bindings their authority. To print the \u003cem\u003eUrfaust\u003c\/em\u003e at the Bremer Presse was to give Goethe's earliest \u003cem\u003eFaust\u003c\/em\u003e text a private-press monument, and the signed vellum binding, \"Bremer Binderei F. Thiersch,\" completes the argument.\u003c\/p\u003e\n\u003cp\u003eWhat that earliest text preserves is the \u003cem\u003eFaust\u003c\/em\u003e of the early 1770s, the \u003cem\u003eSturm und Drang\u003c\/em\u003e draft Goethe brought from Frankfurt to Weimar in 1775 [Schmidt, \u003cem\u003eGoethes Faust in ursprünglicher Gestalt\u003c\/em\u003e]. There is no \u003cem\u003ePrologue in Heaven\u003c\/em\u003e here and no wager; Mephistopheles is the lesser figure and Faust stands more nearly alone, so that the whole weight falls on the seduction and destruction of Margarete. Much of it is still in prose, the form Goethe later lifted into verse everywhere but the one scene, \"\u003cem\u003eTrüber Tag. Feld,\u003c\/em\u003e\" that he left unversed to the end. And it is harsher than what came after: the play breaks off with Gretchen given over to judgement, lacking the voice from above—the \"\u003cem\u003eIst gerettet!\u003c\/em\u003e\" of the 1808 text—that Goethe would add only later to redeem her [Schmidt, \u003cem\u003eursprünglicher Gestalt\u003c\/em\u003e; Schöne, \u003cem\u003eFaust. Kommentar\u003c\/em\u003e].\u003c\/p\u003e\n\u003ch3\u003ePROVENANCE\u003c\/h3\u003e\n\u003cp\u003eThe Heribert Tenschert Collection.\u003c\/p\u003e\n\u003ch3\u003eREFERENCES\u003c\/h3\u003e\n\u003cp\u003eCurt Visel, \u003cem\u003eDie Bremer Presse, Geschichte und Bibliographie\u003c\/em\u003e (Munich, 1975); Julius Rodenberg, \u003cem\u003eDeutsche Pressen\u003c\/em\u003e(Zurich, 1925), describing the edition after the Göchhausen manuscript, edited by Max Hecker, with title and initial by Anna Simons, in 270 copies (Bad Tölz, 1920); W. H. Bruford, \u003cem\u003eTheatre, Drama and Audience in Goethe's Germany\u003c\/em\u003e(London, 1950); Klingspor Museum, Offenbach, Anna Simons archive; Erich Schmidt (ed.), \u003cem\u003eGoethes Faust in ursprünglicher Gestalt nach der Göchhausenschen Handschrift\u003c\/em\u003e (Weimar: Hermann Böhlau, 1887); Albrecht Schöne, \u003cem\u003eFaust. Kommentar\u003c\/em\u003e (Frankfurter Ausgabe, 1994).\u003c\/p\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":47013048844476,"sku":null,"price":3000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/Bremer-Presse_Urfaust-1.jpg?v=1782803012"},{"product_id":"the-doves-press-auserlesene-lieder-one-of-only-ten-on-vellum","title":"The Doves Press Auserlesene Lieder, one of only ten on vellum","description":"\u003cp\u003e\u003cstrong\u003eAuserlesene Lieder, Gedichte und Balladen.\u003c\/strong\u003e London, Doves Press, 1916.\u003c\/p\u003e\n\u003cp\u003eOne of 10 copies on vellum, from a total edition of 185 (175 on paper). 226 pp., printed in red and black with marginal titles. Original flexible vellum binding signed by the Doves Bindery, in slipcase. Small quarto (234 × 168 mm).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBy 1916 Cobden-Sanderson had entered the terminal phase of the press\u003c\/strong\u003e; this was in fact the last book it printed. Cobden-Sanderson predicted it would be \"a beautiful book, perhaps the best I have done, as it will be the last,\" the moment bound up with the destruction of the Doves type in the Thames. A Goethe printed on vellum in that year belongs to the austere, controlled final phase of the press. The paper issue belongs to the normal Doves collecting field; the vellum issue belongs to the highest tier of rarity.\u003c\/p\u003e\n\u003cp\u003eJohn Quinn (1870–1924) was one of the decisive Anglo-American collector-patrons of literary modernism, associated with Yeats, Pound, Eliot and Joyce; a Doves Goethe on vellum from his library shows Goethe's canon passing through the same collecting world that helped shape literary modernism. Osmond Kessler Fraenkel (1888–1983), the American civil-liberties lawyer and long-time ACLU counsel, adds a second distinguished twentieth-century provenance.\u003c\/p\u003e\n\u003ch3\u003ePROVENANCE\u003c\/h3\u003e\n\u003cp\u003eJohn Quinn (1870–1924), American lawyer, collector and patron of literary modernism; Osmond Kessler Fraenkel (1888–1983), American civil-liberties lawyer and ACLU counsel.\u003c\/p\u003e\n\u003cp\u003eThe Heribert Tenschert Collection.\u003c\/p\u003e\n\u003ch3\u003eREFERENCES\u003c\/h3\u003e\n\u003cp\u003eMarianne Tidcombe, \u003cem\u003eThe Doves Press\u003c\/em\u003e (British Library, 2002); Tomkinson, \u003cem\u003eA Select Bibliography of the Principal Modern Presses\u003c\/em\u003e; John Rylands Library, \u003cem\u003eDoves Press\u003c\/em\u003e holdings; \u003cem\u003eThe Complete Catalogue of the Library of John Quinn\u003c\/em\u003e (Anderson Galleries, New York, 1923–24).\u003c\/p\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":47013059428540,"sku":null,"price":65000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/Lieder_Doves-Press_Perg-1.jpg?v=1782803788"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/collections\/goethe-banner.png?v=1781052762","url":"https:\/\/atelierzweig.com\/collections\/the-goethe-collection.oembed?page=2","provider":"Atelier Zweig Rare Books","version":"1.0","type":"link"}