Leather Binding on Spine and Corners with Golden Leaf Printing on round Spine (extra customization on request like complete leather, Golden Screen printing in Front, Color Leather, Colored book etc.) Reprinted in 2018 with the help of original edition published long back [1879]. This book is printed in black & white, sewing binding for longer life, printed on high quality Paper, re-sized as per Current standards, professionally processed without changing its contents. As these are old books, we processed each page manually and make them readable but in some cases some pages which are blur or missing or black spots. If it is multi volume set, then it is only single volume, if you wish to order a specific or all the volumes you may contact us. We expect that you will understand our compulsion in these books. We found this book important for the readers who want to know more about our old treasure so we brought it back to the shelves. Hope you will like it and give your comments and suggestions. - Danish, Pages 296. EXTRA 10 DAYS APART FROM THE NORMAL SHIPPING PERIOD WILL BE REQUIRED FOR LEATHER BOUND BOOKS. COMPLETE LEATHER WILL COST YOU EXTRA US$ 25 APART FROM THE LEATHER BOUND BOOKS. {FOLIO EDITION IS ALSO AVAILABLE.} Complete Mod strømmen. Af forf. til "Amtmandens døtre". 1879 Collett, Camilla, -.
Jacobine Camilla Collett (née Wergeland) (23 January 1813 – 6 March 1895) was a Norwegian writer, often referred to as the first Norwegian feminist. She was also the younger sister of Norwegian poet Henrik Wergeland, and is recognized as being one of the first contributors to realism in Norwegian literature.
Her most famous work is her only novel, Amtmandens Døtre (The District Governor's Daughters) which was published anonymously in two separate parts in 1854 and 1855. The book is considered one of the first political and social realism novels in Norway and deals with the difficulties of being a woman in a patriarchical society in general and forced marriages specifically. It is believed that her personal experiences in life, specifically her relationship with Welhaven, influenced the book. After this book, she wrote very little fiction, but did continue to write essays, polemics, and her memoirs.
Her literary models included female writers such as Rahel Varnhagen and George Sand, as well as Edward Bulwer Lytton and Theodor Mundt. Her style represented a departure from her contemporaries, in that she preferred a more casual, natural tone.