{"title":"The Heribert Tenschert Collection","description":"","products":[{"product_id":"autograph-keyword-manuscript-for-politik-als-beruf-politics-as-a-vocation","title":"Autograph keyword manuscript for “Politik als Beruf” [Politics as a Vocation]","description":"","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":46659499720892,"sku":null,"price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/webberlined.png?v=1778205020"},{"product_id":"le-bestiaire-d-amour","title":"Le Bestiaire d’amour","description":"","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":46692240425148,"sku":null,"price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/6_web_jpg.webp?v=1778290690"},{"product_id":"goethe-s-dissertation-by-far-the-rarest-of-all-his-first-editions-unique-copy-uncut-and-unopened","title":"Goethe’s Dissertation: By far the rarest of all his First Editions – Unique Copy: uncut and unopened","description":"\u003cp\u003e\u003cstrong\u003ePositiones Juris quas auspice Deo ... in alma Argentinensi die VI. Augusti MDCCLXXI publice defendet Ioannes Wolfgang Goethe.\u003c\/strong\u003e Strassburg, Johann Heinrich Heitz, 1771.\u003c\/p\u003e\n\u003cp\u003eBlue original double wrappers (some light staining throughout, heavier on the first two leaves carrying the title, but otherwise in remarkable original condition, entirely uncut and unopened).\u003c\/p\u003e\n\u003cp\u003eOne blank leaf, 12 pp., one blank leaf. Collation (1) )(⁴ )( )(² (1). Quarto (276 × 258 mm). Laid paper without watermark.\u003c\/p\u003e\n\u003cp\u003e❦\u003c\/p\u003e\n\u003cp\u003eThis is Goethe's dissertation, and the rarest of all his writings, though strictly it is the printed theses that stood in place of the dissertation the Strasbourg faculty refused him. No more than about ten copies are recorded, all but the present one in public institutions, among them Munich, the Kippenberg copy at the Goethe-Museum Düsseldorf, and Yale.\u003c\/p\u003e\n\u003cp\u003eWhat sets the present one apart, beyond a rarity already lamented in the early nineteenth century, is that it survives exactly as it was published, in its original double wrappers, entirely uncut and, a thing scarcely to be believed, still unopened after two hundred and fifty-five years.\u003c\/p\u003e\n\u003cp\u003eIn 1771 Goethe, then twenty-one, had reached the last stage of his legal studies at Strasbourg. He had never warmed to the law, having begun it at Leipzig in 1765 only to spend most of his time on literature and art, to the despair of his professor Böhme, and for his inaugural dissertation he chose a subject from church law, a field he said was almost more familiar to him than world history.\u003c\/p\u003e\n\u003cp\u003eHis father, the Frankfurt jurist Johann Caspar Goethe, pressed him toward a solid legal grounding, while Goethe himself, by his own account, half hoped the contentious work would never see print (\u003cem\u003eDichtung und Wahrheit\u003c\/em\u003e, Book 11).\u003c\/p\u003e\n\u003cp\u003eThe work argued that the lawgiver has the right to fix public worship, holding that all public religions, the Christian among them, had been established by rulers, and that the state therefore had the power to prescribe a form of worship (\u003cem\u003eDichtung und Wahrheit\u003c\/em\u003e, Book 11).\u003c\/p\u003e\n\u003cp\u003eTwo of its propositions were incendiary, the reduction of Christianity to a merely political foundation and a private freedom of belief that left every dogma non-binding, and the dean, Johann Friedrich Ehrlen, suppressed the work, while the theologian Elias Stöber denounced its author as a mad despiser of religion.\u003c\/p\u003e\n\u003cp\u003eThe dissertation itself is lost, and its argument has been reconstructed from the surrounding evidence [Genton 1971; Landau 2007].\u003c\/p\u003e\n\u003cp\u003eIn place of the rejected dissertation the faculty allowed him to defend a set of \u003cem\u003ePositiones Juris\u003c\/em\u003e, fifty-six statements in law. He disputed them on 6 August 1771 and was admitted, with the grade \u003cem\u003ecum applausu\u003c\/em\u003e traditionally reported, to the Licentiate of Law, a degree that in the Empire ranked with the doctorate, so that he could afterwards sign himself Dr. Goethe.\u003c\/p\u003e\n\u003cp\u003eNo record of the spoken defence survives, which makes these printed theses the only first-hand text of the examination, one he later remembered meeting with great gaiety, even frivolity.\u003c\/p\u003e\n\u003cp\u003eThe first forty propositions are conventional Roman civil law, and his own voice begins at the forty-first, where the list turns to legislation, criminal justice and the philosophy of law.\u003c\/p\u003e\n\u003cp\u003eSeveral of the theses point unmistakably toward the writer he was about to become. He compresses his censored dissertation into epigram, that all legislation belongs to the sovereign and that the welfare of the state is the highest law, after Cicero.\u003c\/p\u003e\n\u003cp\u003eHe rejects codification at the very moment Europe was hurrying to codify, holding that the body of law should never be gathered into a single corpus but kept brief in words and ample in substance, and revised in each generation or whenever a new ruler comes to power, an instinct for law as a living and self-renewing form that looks ahead to Savigny.\u003c\/p\u003e\n\u003cp\u003eAnd he asks, as a question still disputed among the learned, whether a woman who kills her newborn child should be put to death, the very crime and penalty of the Gretchen tragedy, with the Frankfurt execution of the infanticide Susanna Margaretha Brandt in 1772 close behind it, while a neighbouring thesis condemns the torture by which such confessions were drawn.\u003c\/p\u003e\n\u003cp\u003eThese questions never left him.\u003c\/p\u003e\n\u003cp\u003eThe Weimar infanticide case of Johanna Höhn, decided in 1783 while Goethe sat as privy councillor, answered the thesis in life [Wilson 2008], and the same concern with sovereign right and with guilt returns in \u003cem\u003eFaust\u003c\/em\u003e, in \u003cem\u003eGötz von Berlichingen\u003c\/em\u003eand at the close of \u003cem\u003eDie Wahlverwandtschaften\u003c\/em\u003e [Chaevitch 2019; Jackson 2015].\u003c\/p\u003e\n\u003cp\u003eAs jurisprudence the piece is slight, but as a portrait of the mind on the eve of \u003cem\u003eGötz\u003c\/em\u003e and \u003cem\u003eWerther\u003c\/em\u003e it is extraordinary, and it remains the only first-hand record of the examination that made him Dr. Goethe.\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\u003eHagen 35; Goedeke IV\/3, 102 (43); Kippenberg I, 403 (Goethe-Museum Düsseldorf); Hirzel A 26; Yale, Speck 698, 200 mm height (!); Speck 698 (the Yale copy of the edition, trimmed to 200 mm, against this uncut copy's 276 mm); Wilpert\/Gühring 2; \u003cem\u003eWeimarer Ausgabe\u003c\/em\u003e I\/37, 117–125.\u003c\/p\u003e\n\u003cp\u003eOn the lost dissertation: Genton (ed.), \u003cem\u003eGoethes Strassburger Promotion\u003c\/em\u003e (Heitz, 1971); Landau, \u003cem\u003eBayerische Akademie\u003c\/em\u003e(2007).\u003c\/p\u003e\n\u003cp\u003eOn the theses and the lost dissertation: Schubart-Fikentscher, \u003cem\u003eGoethes 56 Strassburger Thesen\u003c\/em\u003e (Weimar, 1949); Genton (ed.), \u003cem\u003eGoethes Strassburger Promotion\u003c\/em\u003e (Basel, 1971); Landau, \u003cem\u003eBayerische Akademie\u003c\/em\u003e (2007).\u003c\/p\u003e\n\u003cp\u003eOn the theses in Goethe's later work: Wilson, \u003cem\u003eGerman Life and Letters\u003c\/em\u003e 61.1 (2008); Chaevitch, \u003cem\u003eGoethe and Law\u003c\/em\u003e (Harvard, 2019); Jackson, \u003cem\u003eGoethe and the Nobility\u003c\/em\u003e (Glasgow, 2015); Ghibellino (ed.), \u003cem\u003eGoethe in the Thought of Peter Häberle\u003c\/em\u003e(2024).\u003c\/p\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":46692686954684,"sku":null,"price":200000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/Goethe-Dissertation-1771-uncut-unopened_1_jpg.webp?v=1778291674"},{"product_id":"the-celebrated-ship-of-fools-by-sebastian-brant-with-more-than-70-woodcuts-by-albrecht-duerer","title":"The Celebrated “Ship of Fools” by Sebastian Brant, with more than 70 Woodcuts by Albrecht Duerer","description":"","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":46693156946108,"sku":null,"price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/Sebastian-Brant-1-Auugust-1497-jacob-locher-basel-johann-bergmann-albrecht-duerer-haintz-narr-Narrenschiff-stultifera-navis-07_jpg.webp?v=1778293076"},{"product_id":"the-first-german-edition-of-alciati-s-emblemata","title":"The First German Edition of Alciati’s “Emblemata”","description":"\u003ch3\u003eAmbroise Firmin-Didot’s Copy in a Mosaic Binding by Lortic\u003c\/h3\u003e\n\u003cp\u003eAndrea Alciati. \u003cem\u003eEmblematum libellus, uigilanter recognitus, \u0026amp; iam recèns per Wolphgangum Hungerum Bauarum, rhytmis Germanicis uersus.\u003c\/em\u003e Paris, Christian Wechel, 1542.\u003c\/p\u003e\n\u003cp\u003eFirst Latin-German parallel edition of Alciati’s \u003cem\u003eEmblemata\u003c\/em\u003e — and likely the first German text ever printed in Paris. A celebrated landmark of emblem literature, richly illustrated with 115 large woodcuts in brilliant impressions. An exceptional copy from the library of the great Parisian publisher and bibliophile Ambroise Firmin-Didot, later bound by Pierre Marcellin Lortic in an elegant and highly personal mosaic binding.\u003c\/p\u003e\n\u003ch3\u003eEdition \u0026amp; Bibliographic Information\u003c\/h3\u003e\n\u003cp\u003eA–Q8 = 253 pp., 1 leaf.\u003cbr\u003eWith printer’s device on title and final leaf, and 115 large woodcuts throughout.\u003cbr\u003eSmall octavo (160 × 100 mm).\u003c\/p\u003e\n\u003cp\u003ePublished only eleven years after the first edition of Alciati’s \u003cem\u003eEmblemata\u003c\/em\u003e of 1531, this 1542 printing marks the first edition with parallel Latin and German text. The translation was prepared by Wolfgang Hunger (1511–1555), professor at Ingolstadt and former student of Alciati in Bourges. Rather than translating directly from the Latin, Hunger appears to have worked from the French adaptation by Jean Le Fevre.\u003c\/p\u003e\n\u003cp\u003eThe emblem book — combining image, motto, and explanatory epigram — became one of the defining literary and artistic forms of the Renaissance and Baroque periods. Alciati is widely regarded as the founder of the genre, whose influence extended across literature, painting, rhetoric, architecture, and decorative arts for centuries.\u003c\/p\u003e\n\u003ch3\u003ePhysical Description \u0026amp; Binding\u003c\/h3\u003e\n\u003cp\u003eNineteenth-century orange morocco by Pierre Marcellin Lortic (1822–1892), signed on the inner board. Spine gilt in compartments with floral tools; covers framed with double blind fillets and centred with an elaborate inlaid mosaic design depicting a nude boy holding a cornucopia — a playful allegory of emblematic abundance. Gilt turn-ins, marbled endleaves, and gilt edges.\u003c\/p\u003e\n\u003cp\u003eThe present copy preserves the 115 woodcuts in exceptionally strong impressions. The illustrations derive from the celebrated Paris editions printed by Christian Wechel, for which Mercure Jollat created refined cuts “in the manner of Holbein.” Compared with earlier editions, the present version includes two additional illustrations.\u003c\/p\u003e\n\u003ch3\u003eA Foundational Work of Emblem Literature\u003c\/h3\u003e\n\u003cp\u003eBefore emblem books became one of the dominant visual-literary forms of early modern Europe, Alciati’s \u003cem\u003eEmblemata\u003c\/em\u003e established the model itself: concise symbolic images paired with mottos and explanatory verse. These combinations functioned simultaneously as moral instruction, intellectual game, and humanist exercise in interpretation.\u003c\/p\u003e\n\u003cp\u003eThe genre became enormously influential from the sixteenth through the eighteenth centuries. Emblematic thinking shaped not only literature, but also Baroque painting, court festivals, architecture, theatre, and systems of political symbolism. As later scholars observed, emblem literature became a “vast reservoir” of medieval and humanist learning and remains essential for understanding the symbolic language of the Baroque world.\u003c\/p\u003e\n\u003cp\u003eChristian Wechel’s Paris editions helped standardize the visual language of emblem books across Europe. The present 1542 edition occupies a particularly important position within that development, uniting Latin humanist culture with vernacular German readership at a remarkably early date.\u003c\/p\u003e\n\u003ch3\u003eProvenance\u003c\/h3\u003e\n\u003cp\u003eUniversity of Lund, with 18th-century institutional stamp and later duplicate stamp.\u003cbr\u003eAmbroise Firmin-Didot (1810–1876), with his library label on the front pastedown; sold in the Firmin-Didot sale, Paris 1879, lot 471.\u003c\/p\u003e\n\u003ch3\u003eLiterature\u003c\/h3\u003e\n\u003cp\u003eDuplessis 16; Élie 193; \u003cem\u003eFünf Jahrhunderte\u003c\/em\u003e 86; Goedeke II, 484 III, no. 1; Graesse I, 62; Green no. 20; KNLL I, 258; Landwehr 1976, no. 25; not in Hoe.\u003cbr\u003eBinding: Devauchelle II, 56–61; Fléty 115.\u003c\/p\u003e\n\u003cp\u003eFor a fuller scholarly description and illustrations, see \u003cem\u003eWunderkammer\u003c\/em\u003e Catalogue 90, lot 79:\u003cbr\u003e\u003ca href=\"https:\/\/issuu.com\/heribert-tenschert\/docs\/katalog_90_vol_2_web?utm_source=chatgpt.com\"\u003eWunderkammer Catalogue 90, Volume II\u003c\/a\u003e\u003c\/p\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":46829858554044,"sku":null,"price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/Emblemata-1.png?v=1778880868"},{"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":"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":"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"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/collections\/favicon-schriftzug_gold_danelius_85pc_png.webp?v=1778201974","url":"https:\/\/atelierzweig.com\/collections\/the-heribert-tenschert-collection.oembed","provider":"Atelier Zweig Rare Books","version":"1.0","type":"link"}