Kaladlit Okalluktualliait - edited by Hinrich Rink & printed by Lars Møller at Godthåb in Greenland in 1859-63.
These 4 volumes of Greenlandic folktales, illustrated with remarkable woodcuts by an Inuit artist, are amongst the rarest & most extraordinary of exotic imprints. 1/
The text is in both Danish & the Kalaallisut dialect of the Greenlandic language. In the first two vols the illustrations - 30 woodcuts - were supplied by an Inuk named Aron of Kangeq, a sealer & walrus hunter who lived at the Moravian mission at the trading station of Kangeq. 2/
This set has the ex-libris of the great Anglo-Danish collector Bent Juel-Jensen, who wrote: "this is far and away the biggest and the most important undertaking of the little early press at Godthaab, Greenland. Its importance rests on the Greenlandic tales which otherwise... 3/
... might have been lost with 'civilization'. It's the magnum opus of that extraordinary artist Aron Kangek, the hunter who without formal training with simple tools cut the marvellous woodcuts. The acquisition of this was one of the greatest thrills I've had as a collector." 4/
This series of folktales is, according to Oldendow, "probably the first text printed by Native American people preserving their own cultural heritage. It represents the earliest [printed] expression of the Esquimo soul... handed down through generations of oral tradition." 5/
Many of the stories, especially in the first volume, describe the clashes between Norsemen and Eskimo. 6/
Although ephemeral pieces had been printed on a hand press in Greenland as early as 1793, the first real press was brought there by the enthusiastic Danish Crown Inspector for Southern Greenland, Hinrich Rink, in 1857. He began his career at the Moravian mission at Godthaab. 7/
Rink was determined to collect legends & folktales of the Greenland Inuit and publish them, an ambition achieved in these 4 volumes produced over five years. All of the letterpress was printed in a small, unheated workshop next to Rink's house, mostly executed by Lars Moller. 8/
The most amazing aspect of these books are the illustrations. In the first two volumes these were all supplied by Aron of Kangeq. Having heard of his raw artistic talent, Rink supplied him with "paper, coloured pencils, and the necessary tools for woodcutting." 9/
Thirty of his woodcuts, about half of them hand- coloured, appear in the first two volumes. As Oldendow says, "With his fertile imagination Aron drew men in violent motion... he depicts the legendary world of the Greenlanders with insight and ability..." 10/
"... He makes us understand the vastness, loneliness, and weirdness of the majestic Greenland landscape and evokes the soul of the country as the ancient Eskimos have known it..." 11/
Aron created pictures of remarkable power, all the more extraordinary for the circumstances of their production. In the third volume Lars Moller, the printer, supplied a series of illustrations of Greenland life created on the first lithographic press in Greenland. 12/
Rink collected oral tales from throughout Greenland, although mainly in the southern area he administered. The remarkable oral tradition of these communities, polluted by few outside influences, stretched back to the early Middle Ages. 13/
Rink recognised that some of the tales existed in the realm of pure myth, but that others represented recollections, passed from one generation to the other, of events of many centuries earlier. 14/
In the preface to the third volume, Rink sets out his theories on the tales, laying the foundation for scholarship on the Greenland Inuit. All of the text is given in both Greenlandic and Danish. 15/
This set is notable for containing two folding maps not regularly issued with the 4 volumes, but printed to be distributed separately. Both were prepared by S. Kleinschmidt, and are lithographic maps showing the fjords around Godthaab, with accompanying letterpress text. 16/
An English translation of Rink's Kaladlit Okalluktualliait was published in 2020:
The Native Greenlander: Folktales of Greenland. 17/ amazon.com/dp/0996748083/…
This is the 2001 English first edition of the - utterly batshit -Ruhnama (Book of the Soul), written by Saparmurat Niyazov, President of Turkmenistan from 1990 to 2006, intended to serve as the "spiritual guidance of the nation" and the "centre of the Turkmen universe". 1/
The Ruhnama was introduced to Turkmen culture in a gradual but eventually pervasive way. Niyazov first placed copies in the nation's schools and libraries but eventually went as far as to make an exam on its teachings an element of the driving test. 2/
It was mandatory to read Ruhnama in schools, universities and governmental organisations. New governmental employees were tested on the book at job interviews. 3/
Take a wild guess which country's flag @FadahJassem, Twitter's new Editorial Curation Lead for MENA [Middle East and North Africa countries] "inadvertently" left out of her tweet.....
"It seems I've inadvertently caused a flag flutter because I forgot to add some flags"
I'm sure that tweet was just an isolated mistake....
The real commercial value of most 18/19th cent. torah scrolls is $500-$1000 if bought individually, half that if bought in bulk. There are 1000s available for sale at any time. Why does the IRS routinely grant tax deductions of well over $10k per scroll? reiss-sohn.de/en/lots/9454-A…
The scroll shown above was deservedly unsold on the last Reiss auction at a reserve of EUR 1500. It's incomplete (missing the first part of Genesis), but it's an Ashkenazi tradition scroll, which is vastly less common than the more usually found Sephardic ones from North Africa.
The wildly inflated valuations for these scrolls that the IRS have accepted - coupled with the vast numbers bought by a handful of wealthy Christian collectors & institutions - effectively means the US taxpayer has subsidized a small group of evangelical Christian billionaires.
This circa 1665 painting of the Annunciation by the relatively obscure Dutch genre painter Godfried Schalcken (1643 - 1706) gets something exactly right, that almost all other artists - including many far more famous than Schalcken - get wrong. Can you see what it is? 1/
Here is Godfried Schalcken's version vs El Greco's..... 2/
And here is his version vs Titian's. Can you see the key difference yet? 3/
I'm trying to identify the writer of these notes on a Coptic ostracon, most likely an Austrian papyrologist or coptologist. The paper and ink suggests a date between the 1930s and 1950s, but it could be earlier or later than that.
Does anyone here recognize the handwriting?
A comment was made by @V_Feuerstein that the German handwriting looked older, more like 1890-1910. This is perfectly possible and I'd welcome more comments on this from German speakers - are there particular features in the handwriting that indicate an earlier date range to you?
Some very interesting and useful replies so far, thank you to @V_Feuerstein, @madcynic and @sista_ray. In case it helps, here is another sample of the handwriting.