Introduction.

For several years Norwegian booksellers and collectors have been

aware of the fact that there are some first editions of three of HenrikIbsen's playsrr Qther than those ordinary first editions published inCopenhagen. According to Schiøtz &. Ringstr@ms book "NorskeFprsteutgaver" U990], these copies have never been recorded sold orowned in Norway' . The University Llbrary in Oslo owns all three of themand lists them in their catalogue: "Henrik Ibsen - Katalog overIbsenutstillingen i Universitetsbiblioteket, 1928".' Ibsen's books and thedifferent editions have been thoroughly investigated, but this littlemystery seemed never to have caught any serious attention.

"Printing and the Mind of Man" says that the publishing of thebooks in London was "a well-intentioned illusion that this was necessary

to secure copyright." 'Another httle puzzle was that while the University Library in Oslo

and Schiøtz & RingstrØm list these three: Hedda Gabler, Lille Eyolf and

Johan Gabriel Borchman, "Printing and the Mind of Man" lists a slightlydifferent but not insignificant selection: Hedda Gabler, BygmesterSolness and John Gabriel Borchmann.

Because of his many years in poverty, (see below), Ibsen wasvery determined that he should secure his rights and make all themoney he could from his work. When he died, he was therefore a verywealthy man. Gosse says that this was solely because he took great carcto secure his copyrights. Very many of Ibsen's letters, printed in theCentenary Edition of his Collected Works are about finances and money.

A letter to Jacob Hegel 18-1-1895 (his publisher) regardingpurchase of bonds: "They will have to be absolutely safe, as I cannotafford neither to lose money nor to risk anythirg."

I6sen was also very åreful that nobody should get hold of hiswritings and publish pirate copies:"A1l through the autumn [of 1871] he was kept in a chronic state ofiffitability by the intrigues and the menaces of a Norwegian pirate, whothreatened to reprint, for his own profit, Ibsen's early and insufficientlyprotected writings." * - and: "He was growing rich too fafter 1890]... Hiswealth, it may be said, was founded entirely upon the success of hisworks... When Ibsen died, he was one of the wealthiest private citizens ofChristiania [Oslo], and this was wholly in consequence of the care that he

'saR,p.9t'pp. 44, 45, 463 p.226aGosse p. 136

had taken."' Ibsen wrote to his wife in April 1895: "We now have166.000 kroners invested, even I dare to say that that is well done."u

A letter to Jacob Hegel of 20 Oct 1896 in the year of the foundingof the Berne Convention shows his concerns,: "Please see to it that noliterary pickpocket gets hold of the proof-sheets. Start the printingimmediately for the sake of the theatres and the translators." 7

The subject led to an investigation, and this coursework is theresult of my research.

s Gosse p. 2116He1bergp.2757Cent. vol. 18, p. 386

Edmund Gosse and Nortray.

The life of Edmund Gosse is both interesting and fascinating. Ithas - however been thoroughly described elsewhere. In this short

biography I will mainly consider the parts of his life and work that wererelated to Norway and to Henrik Ibsen.

The first time Edmund Gosse visited Norway was when he was 21

years old. He was employed at the British Museum in the cataloguingdepartment. In spite of his youth, he made friends with many famouspeople of those days, and he began exchanging letters with even more.He had published a few poems and sent in a few articles to differentperiodicals, but none had appeared in print. Gosse was young and

aspiring, his aim was to be a poet and a critic of English Literature.His summer visit to Norway in June 1871 made him fall in love

with the country, but he made no friends at this visit, and did not learnany of the language. At this time he was totally unaware that thereexisted a Norwegian literature, a view he shared with most otherEnglishmen. On the last part of his stay in Norway, however, he wentinto a bookshop in Trondheim and bought Ibsens, Digte (Poems) at thebookseller's advice, though he could not read it. Having come home, he

wrote a small article about his travels, "The Lofoden Islands" which wasaccepted and printed in Fraser's Magazine.

During the next winter Gosse taught himself Danish by comparingan English and a Danish version of Scharling's Nøddebo Prestegaard.

Charteris mentionss that "during his last year at school [he] had been

working on his own account at Swedish," and the Scandinavian languagescannot have been totally unknown to him in 1871. After having obtainedat least fairly good reading abilities in the Dano-Norwegian language, he

turned again to Ibsen's Digte, read them; was delighted and

wrote a review of the book in the Spectator. The Spectator printed it inMarch 1872, and Gosse immediately sent a copy to Henrik Ibsen inGermany. Ibsen wrote a very nice letter back. He was pleased to bepromoted in England and to gain recognition in the difficult butimportant British market.

This was the beginning of Gosse and Ibsen's long acquaintanceand exchange of letters. Gosse reviewed all of Ibseris plays from thistime. For years he seemed to lead a never-ending fight for the Norwegianliterature in England.

tp. 1l

Gosse visited Norway on several other occasions, but managedonly once to meet Ibsen who mainly lived abroad. Their meeting was onthe 1st of September 1899 in Christiafita.

In 1879 Gosse published his first book on Scandinavian Literature:"studies in the Literature of the Northern Europe". It is a paradox that atthe time when Gosse was regarded as an expert on Scandinavianliterature, his own interest had almost disappeared. Having establishedhimself as a literature critic in this special field, he now turned to his realinterest in life, thc English literature and left the Scandinavian to others.He did, however, continue his correspondence with a few Scandinavianwriters, among them Ibsen.

A special incident regarding the publishing and translation ofHedda Gabler is worth mentioning here:

Gosse had received the proofs of the play and had reviewed it onJan lst 1891 in the Fortnight Review. This was shortly before his ownEnglish translation was published by Heinemann. On Jan 2nd Gossemust have p( sent Ibsen a letter asking for his signature on a finalcontract about the English version of the play. On this contractHeinemann acquired the sole rights of the printing of the play in England."Heinemann had offered Ibsen a fee of f, 150 if he could arrange for theproof-sheets to be sent directly to Gosse from Gyldendal as they werebeing finished. Ibsen accepted this offer."n However, when Ibsenreceived the contract, it covered Heinemann's sole right of the play inEngland. Ibsen felt that he was dishonorably treated. William Archerand Walter Scott were akeady working on a collection of Ibsen's Prose

Dramas, and they were now unable to incorporate Hedda Gabler. Ibsenhad explicitly demanded that Gosse's translation should not hinder Mr.Archer in completing his edition. Subsequently Ibsen returned the feefrom Archer and sent a cross letter to Gosse .'o

Gosse's translation was not of a good standard, his Norwegiannever was. Archer made a violent attack on him in The Pall MallGazette. He called Gosse a translator traitor, pointing out a number ofvery grave mistranslations: "Mr. Gosse's translation of 'Hedda Gabler'

[Heinemann] is so inconceivable and fantastically inaccurate as toconstitute a cruel injustice to Henrik Ibsen. I cannot pretend to be animpartial critic. I have long ago known that Mr. Gosse's Norwegian issadly imperfect..."" The incident was settled after a while. Gosseadmitted that Archer's translation was the better. After this incident therewas no evidence of correspondence between Gosse and Ibsen for 7 years.

In Norway Gosse was honored as being the man who introducedNorwegian literature to the English. He was not only the first

eBredsdorff p.44loFranc p. 6311 Bredsdorffp. 178

Englishman to discover Ibsen, but for almost 10 years he fought alone tomake him known in England. He had a very good reading knowledge ofNorwegian.

In 1901 Gosse received the Royal Order of St. Olav, First C1ass,

from King Oscar: "In recognition of his services to the NorwegianLiteratute"."

Shortly after the turn of the century, Gosse was made President ofthe Norwegian Club in London. From 1917 till his death in 1928, he wasChairman of the Board of Scandinavian Studies at University CollegeLondon.

12 Charteris p. 272

Short biosraphy of Henrik Ibsen.

Henrik Ibsen was born in Skien, Norway on the 20th March 1828,

son of Knud Ibsen a rather wealthy retail merchant and Marichen nde

Altenburg, daughter of a German merchant. When Ibsen was 7, his fatherlost all his property, without going bankrupt (as many sources claim)."Bankruptcy was a social disgrace in those days, and even though thefamily avoided it, they lived very quietly after this, abandoned by alltheir former friends and acquaintances. Poverty as such was also adisgrace. They moved to a small farm called Venst@p which still can be

seen outside Skien. Ibsen's childhood years were extremely lonely.In 1843, at the age of 15, he was confirmated. He was from this

date taken out of school and was supposed to earn his own livings. Aftera while he was accepted as an apprentice to a small apothecary in the tinysouth-coast town of Grimstad. Here he lived in the utmost poverty forfive years. He also fathered an illpgitimate child during this period. Aftertwo years , in 1847 , the apothecary,"'vvzs sold to another owner, and Ibsen'slivelihood was a little improved. His last three years in Grimstad werefairly huppy. He was still very poor, but he made a few friends andactually found time to write. One of his friends, Ole Schulerud, took hisfirst play, Catilina [written under the pseudonym of Brynjolf Bjarme]with him when traveling to Christiania to present it to the ChristianiaTheater. Unfortunately, the theatre claimed that it could not be staged.But Schulerud had such good faith in Ibsen that he actually had the playprinted and published at his own expenfe. However, it did not attract anyattention.

In 1850 Ibsen left Grimstad. He went to Christiania in hope ofbecoming a student. Here he entered a course Å a school called"Heltberg's Student Factory". His money was so short that he could onlyenter the shortest one; the three months' course. His results were bad, buthe passed the matriculation test with the lowest possible margin. Hisresult in Norwegian was particularly bad. However, he failed in Greekand mathematics, and was subsequently not able to enter into theuniversity as he had wanted.

As a result of several curious incidents, he was offered a position ina newly opened theatre in Bergen. The work was hard and the wages low.He lived there for 6 years. It is in this period that he learnt his theatricalskills. He became engaged to Susanna Daae Thoresen, but they wereunable to marry because of his bad finances. In 1857 he received an offerto work on a new stage in Christiania for a salary double of what he had

13 Heiberg p. 28

got in Bergen. Ibsen was delighted, moved and married. After two years,

the theatre had to close down, and Ibsen was again in a difficult position.He worked shortly on the country's main stage: Christiania Theater.During the years in Bergen and Christiania, he wrote several plays whichwere performed, but not successfully. The public seemed to loathe bothIbsen and his plays.

After having applied several times, he was finally awarded a grantfrom the Norwegian Government in 1864. After the fashion of theGovernment, however, it was smaller than what he had applied for. Ibsenhad by now experienced Norway and the Norwegians as unfriendly andeven hostile, and he felt that everything bad lingered in Norway. Acouple of years later he actually wrote in a letter that "Norwegian friendswere a costly luxury which he was obliged to deny himself'.'o Ibsenbrought his wife and little son to live in Rome, and for 10 years he didnot even visit Norway. Not until after 27 years did he go back to live inNorway. The Italian way of life was a relief for him after his cold andpoor years. In 1866 he published his first real success: Brand, and shortlyafter: Peer Gynt. These two plays were tremendous successes and placedIbsen rather suddenly in the first rank of European authors andplaywrights, a position he held for the rest of his life.

In 1868 he left Italy and went to live in Dresden with his family.This is where he lived when he was first contacted by Edmund Gosse.

In the surlmer of 1869, Ibsen was already so famous that the Kingof Norway and Sweden appointed Ibsen to be one of the two delegatesfrom the two united Kingdoms to be present at the official opening of theSuez Canal. This was a long way in a short time, from real poverty inChristiania in 1864 to world famous delegate in 1869.

In the years 1878 to 1891 Ibsen lived in Rome or in Munich.Every second or third year for the rest of his life, he presented a new play.Even if his plays were strongly debated, or even fought against, as theywere in England and Germany, his genius was never debated. He waslooked upon as the greatest playwright in his time. In Norway he is, ofcourse, still regarded in this way. He moved back to Christiania in 1895and lived there until his death in 1906.

I have not found it necessary to list Ibsen's works here, as they arerecorded in very many other places.

la Gosse p. 136

Ibsen and copyright.

Before copyright was established, the publishing business couldyell be called a "pirates' business". Regarding Ibsen, Heiberg writes:,tbr"n had himsef taken steps to have ttre play translated into Germanand sent to as many theatres as possible - the laws at this time were such

that if aptrate translator should appear first and offer his translation to thetheatres, the theatre dealt with the translator only, not the author." "And: "Until the middle of the 1890's Ibsen had to take all precautions toprotect himself against literary pirates in every country... The BerneConventions first came into being during these years and protected thecopyright of cultural works, anyhow in most countries of importance toIbsen. But Denmark, where his own publishers was, did not sign theBerne Convention until 1903, so he still had to see to the protection of hiscopyright personally. But he could take his precautions, and the money

ir l6poureo ln..'

On the background of this, we ought to find a London edition ofIbsen's last play too: "Naar vi døde vaagner" (When we dead'awaken)

[1899],but I have not found one, and I do not believe that such one exists.However, the Norwegian Encyclopedia" reads that the main principle isthat an author who is a citizen of one of the counffies of the Berne Union[the result of the Berne convention] has the same rights of protection forhis works in another country of the union as the first country to its owncitizens. Norway became a member of the Berne Union in the foundingyear of 1896. It seems that Heiberg here is wrong, believing that countryof publishing is the vital one. I believe that Ibsen ended his Londonpublishings in 1896 with John Gabriel Borchmann because the BerneConvention protected him and he did not any longer have the need forthis kind of protection.

tt H"iu".g iest6 Heibergp.275

" Store norske p...

British Library.

The Catalogue of the British Library when searched revealed thatthere are four books by Ibsen with the entry: "London 18--, same editionbut with another title page." See below. From this moment I knew that Iwas looking for four books, not three as I had believed.

Book Auction Records.

Book Auction Records (BAR) is annually published by AntiquarianBooksellers' Association (ABA).I have searched through the volumes of BAR in The Senate HouseLibrary from 1902 to 1993. Only once have I found any of the Ibsenbooks for which I have been looking. This was in vol.26 for 1928129,and in this year, the minimum price for listing in the BAR list, wasprobably f5. The amount was not stated in any of the BAR records Ihave looked through, but looking at the prices, this seems right. Booksthat were sold below this price will not have been listed, and it only listsbooks sold in the major auction rooms.

The following is a very brief description of each book, but without anyconsideration of condition.

Ibsen, (H):-Bygmester Solness, one of an edn. of 12 copies to secure copyright, hf.mor. g.t., 1892 (S. Dec. 4; 401) Maggs f5 15 s.

-Hedda Gabler, one of 12 copies to secure copyright, hf. mor. gt. 1890.(S. Dec. a;400) King f 10-John Gabriel Borkman, one of 10 copies to secure copyright, hf. mor.,1896 (S. Dec. 4;402) King f6 10 s.

The abbreviations are: hf.= half, mor.= morocco, gt.= gilt, g.t.= gilt topedge.

The last book that I was looking for; Lille Eyolf, was not sold atthis time. Nor can I find it at aLI in the BAR records in this special firstedition.

Edmund Gosse died in 1928. His library was sold by Sotheby onthe 3-6th Dec. 1928. It is quite possible that the books sold in 1929 werefrom his library, particularly when looking at the below items in Harvard

University Library which have his bookplates (Bygmester Solness andHedda Gabler).

I have also looked at Ibsen in the National Union Catalogue to see

if any of these Ibsen editions are in any American Libraries, and I foundtwo. The entries are as follows:

Bygmester Solness.London 1892. Publishers devise on t.p. First edition; one of 12 copiesissued in London to secure copyright. The sheets are the same as those ofthe Copenhagen Edition, which did not appear until 12 Dec. 1892.Edmund Gosse's copy with his bookplate.Belongs to Harvard University, Cambridge.

Hedda Gabler.London 1890. First edition; one of 12 copies issued in London on 11 Dec.1890 in order to secure copyright. The sheets are the same as those of theCopenhagen edition, which did not appear until 16 Dec. 1890.Original printed grey front wrapper preserved at end, bound in half greymorocco.Edmund Gosse's copy with his bookplate.Belongs to Harvard University, Cambridge.

The search indicates that there has not been many sales of these rare firsteditions. However, the BAR does not give us a full picture: The bookscould have been privately sold, sold out of a bookshop or at a price belowBAR's minimum prices, and therefore we would not know...

The books as such - a comparison.

Hedda Gabler.First edition in Norwegian. Published 1lth Dec. 1890 by Heinemann,London, 12 copies to secure copyright.

Sources where these special editions are mentioned:Printing and the Mind of Man: p.226.Sctttøtz & Ringstrgm: p. 90UB's Catalogue: p. 45Bredsdorff: p. 44M.F. Franc: Not mentioned.Recorded sold on auction rn 1929.

A comparison between these two editions was performed in the BritishLlbrary on the 15 Feb. L995. The comparison of the text was made onthe pages marked with the bookbinder's signature numbers, and I foundthem seemingly identical.'*

The Copenhagen edition [C.ed.]:It has not been repaired as some of the others in this group in the BritishLibrary; but it has been rebound in BL's library binding. It has II + 236pp. I: Half title page. II: Title page with Gyldendalske Boghandelsforlag's device. On the reverse of title page, information about otherpublished editions in several languages.The Inndon edition:II + 236 pp. I: Half title, identical with the C.ed. II: Title page withWilliam Heinemann, London as publisher. On the reverse of title page:Printed by Ballantyne, Hanson & Co., London and Edinburgh.See photocopy of the title pages.

Bygmester Solness.First edition in Norwegian published 6th Dec. 1892 by Heinemann,London, in a number of 12 to secure copyright."As a further safeguard of the English copyright a special matinee wasarranged at the Theatre Royal in Haymarket on Dec. 7, 1892 at 10

o'clock, when Bygmester Solness was read in Norwegian." " 7 persons,including Gosse participated, and there was an audience of 4. Thepublisher, Heinemann had rented the theatre.

18 Cent. vol. 18,. p. 361, see also Harvard's entry below.re Charteris p.226

Sources where these special editions are mentioned:Printing and the mind of man: p. 226Schiøtz & Ringstrøm: Not mentionedUB's Catalogue; Not mentionedBredsdorff: p.48BAR: 26192.M.A. Franc: p. 164Recorded sold at auction in 1929.

A comparison between the two editions was performed in the BritishLibrary 15 Feb. 1995.I have compared the pages in the same way as withHedda Gabler, and found them seemingly identical.

The Copenhagen edition:All sheets repaired, and the book bound in B.L.'s library binding. IV +220 pp. I: Fly leaf with information about other editions in severallanguages on reverse. II: Half title. III: Title page with GyldendalskeBoghandels forlag's devise. IV: List of participants.The London Edition:This has not been repaired, but rebound in BL's library binding. TheEnglish original front wrapper bound in, pale grayish blue paper withWilliam Heinemann, London as publisher and his devise. IV + 220 pp.I: Fly leaf. II: Half title, not identical with the C.ed. III: Title page withHeinemann as publisher. IV: List of participants, identical with the C.ed.See photocopy of the title pages.

Lille Eyolf.First edition in Norwegian published 11 Dec. 1894, by Heinemann,London, in 12 copies to secure copyright, but dated 1895 in the book. TheNorwegian first edition published in Copenhagen is dated 1894.Ibsen wrote a letter to Aug. Larsen at the Gyldendal house: "Send W.Heinemann as soon as possible 12ungathered copies of ll-ille Eyolfl."'oA copyright performance of this play was staged on Dec. 7, t894 in theTheatre Royal. Cast: 6 persons, of which both Mr. Gosse and Mr.Heinemann."The book has not been recorded sold at auction between L902 and L993.

Sources where these special editions are mentioned:Printing and the mind of man: Not mentioned.Schiøtz & Ringstrgm: p. 90.UB's Catalogue: p.46

20Cent. Vol. 18, p.361

" M.A. Franc p. 174.

Bredsdorff: Not mentioned.M.A. Franc: Not mentioned.

A comparison between the two editions was performed in the BritishLibrary 15 Feb. L995. I have compared the pages in the same way as

with Hedda Gabler and found them seemingly identical.

The Copenhagen edition:This copy is in its original beautiful gilt cloth binding in a case. It has V+ 184 pp. I: Fly leaf. II: Fly leaf with information about other editions inseveral languages on reverse. III: Half title. IV = Title page withGyldendalske Boghandels Forlag's devise, publishing year L894. V: Listof participants. I was not allowed to photocopy this book in the BL. Butan identical copy was found on the shelves of the UCL library. Therewas no problempin photocopying this.The London edition:In BL's library binding. It has not been repaired. IV + 184 pp. I: Flyleaf identical with the C.ed. (II) with information about other editions inseveral languages on reverse. II: Half title, identical with the C.ed. III:Title page with Gyldendal's devise and William Heinemann, London as

publisher. Publishing year 1895. IV: List of participants, identical withthe C.ed.See photocopies of the title pages.

John Gabriel Borchman.First edition in Norwegian published l}th Dec. 1896 by Heinemann,London, 12 copies to secure copyright.

Sources where these special editions are mentioned:Printing and the Mind of Man: p.226.Schiøtz & Ringstrgm: p.91.UB's Catalogue; P. 46Bredsdorff: Not mentioned.A.M. Franc: Not mentioned.Recorded sold at auction in 1929.

A comparison between the London and the Copenhagen editions wasperformed at the British Library 15 Feb. 1995.I have compared the pagesin the same way as with Hedda Gabler, and found them seeminglyidentical.

The Copenhagen edition:It has the original wrapper with advertisements bound in. There are IV +245 pp. I: Fly leaf with information about other published editions inseveral languages on reverse. II: Half title. III: Title page withGyldendalske Boghandels Forlag as publisher and their device. IV: Listof participants.The London edition:The copy in the British Library is rebound and repaired. It has IY + 245pp. I : Identical with C.ed. II = Half title, identical with the C.ed. III:New title page, publisher entered as both Gyldendalske BoghandelsForlag and William Heinemann, London IV: List of participants,identical with the C.ed.See photocopy of the title pages.

Conclusion.

Only three of these rare Ibsen editions have been known in Norway untilnow, but there is no doubt that there are four all together. They werepublished in the years 1890-1896, and quite rightly - as supposed - tosecure copyrights. These are:

Hedda Gabler 1890Bymester Solness (The Master Builder) L892Lille Eyolf (Little Eyolf) 1894John Gabriel Borchmann 1896.

I have not found any evidence of earlier London editions, nor of one later,and my conclusions are that there are four only.

These editions are the true f:.r:st editions of these plays. I have only foundvery few copies of them altogether, but there may be copies that I havenot been able to trace.I have found:

Hedda Gabler, 3

Bygmester Solness, 2Lille Eyolf ,2John Gabriel Borchmann, 2

UB Oslo, " British Library 1, Harvard 1.

British Library 1, Harvard 1.

UB Oslo 1, British Library 1.

UB Oslo 1, British Library 1.

Seen from the view of an Antiquarian Bookseller, this is indeed veryinteresting. But it bears no impact whatsoever on the prices of what isusually regarded as the first editions. Ibsen was very famous when these

books were published. Gyldendalske Boghandel expected a great sale,and the number of printed copies was large. Therefore these four booksare some of the most easily obtainable of Ibsen's first editions. Shouldhowever, one of the London copies appear, this would be great andsensational news, and it would certainly obtain a very high price, farabove Ibsen's average prices. Twelve copies were published of each, Ihave traced seven, the possibility of seeing one on the marked is perhapsnot quite impossible?

22 Universitetsbiblioteket I Oslo(University Library).

Bibliography.Shortened:

Bredsdorff, Elias: BredsdorffSir Edmund Gosse's Conespondence with Scandinavian.Gyldendal, Copenhagen 1960.

Centenary Edition. Cent.

Hundreårsutgaven 1928, Gyldendal Oslo 19--.

Charteris, The Hon. Evan K.C.: CharterisThe Life and Letters of Sir Edmund Gosse.

Heinemann, London t193 11.

Franc, Miriam Alice Franc

Ibsen in England. Four Seas Company, Boston 1919.

Gosse, Edmund: Gosse

Ibsen. Hodder and Stoughton, London 1907.

Heiberg, Hans: HeibergA Portrait of the Artist. George Allen and Unwin Ltd.London 1969.

Henrik Ibsen 1828 - 20. mars - 1928. UB's Catalogue

Katalog over Ibsenutstillingen i Universitetsbiblioteket.Oslo [1928].

Printing and the Mind of Man. Printing &Pressler, Miinchen, 1983.

Schiøtz, Cato and Bjørn Ringstr@m: S & RNorske F@rsteutgaver. B. Ringstr@ms Forlag,Oslo 1990.

Store Norske Leksikon.Kunnskapsforlaget, Oslo 1992.

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