Olympia-2015

5. [ARNIM, Bettina von.] Goethe’s Briefwechsel mit einem Kinde. SeinemDenkmal. Erster [-zweiter] Theil. [Theil III: Tagebuch.] Berlin, FerdinandDümmler, 1835.3 vols bound in 2, small 8vo, [6 ll.], pp. xii, 356; [ii], 324; [ii], 243; with 3 engravedfrontispieces by C. Funke showing Goethe’s study in his parents’ house inFrankfurt, a drawing for a monument of Goethe, and Goethe’s deathmask; and adouble-page monochrome aquatint view of Cologne done in imitation of awash drawing, by or after Rumohr; a few small ink stains at beginning of vol. 1,neat contemporary ownership inscription on fly-leaves; a very good copy in Germancontemporary glazed cloth, leather lettering-pieces on spines; corners slightlybumped. £650First edition of Bettina von Arnim’s widely-acclaimed first book, a blend ofbiography and fiction, based primarily on her contact with Goethe and with hismother. Von Arnim was born Bettina Brentano, into a literary family well-known toGoethe (she was the sister of Clemens Brentano, and granddaughter of Sophie vonLa Roche), and she idolised the poet. Von Arnim first met Goethe himself in 1807when he was 57 and she was 22, and she remained in close contact with him until1811 when, provoked by her behaviour to his wife, Goethe deemed the relationshipinappropriate and severed all connections. The third part of Goethe’s Briefwechselmit einem Kinde takes the form of a diary, since von Arnim’s letters to Goetheremained unanswered thereafter.6. [ATGET, Eugène.] SZARKOWSKI, John, and Maria Morris HAMBOURG. TheWork of Atget [I: Old France; II: The Art of Old Paris; III The Ancien Regime; IV:Modern Times]. New York, The Museum Of Modern Art, [1981, 1982, 1983,1985].4 vols, 4to, pp. 177, [3]; 190, [2]; 185, [3]; 182, [4] with illustrations throughout;bound in burgundy cloth, lettering in blind on upper board, gilt lettering on spine,with dustjacket; only the slightest signs of wear, very good. £375First Editions. A comprehensiveaccount of Atget’s photographicoeuvre documenting French life andculture, published alongside the foursuccessive exhibitions at the Museumof Modern Art in the 1980s.‘I know of no other photographer whoresponded with Atget’s boldness andimaginative intelligence to the newperception of range and flexibilitythat first came to photographyaround the turn of the century’ (J.Szarkowski, p. 29).