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København, Gyldendalske Boghandels Forlag, 1883. 8vo. Bound in a green cloth binding with gilt lettering on the spine and front cover. There is a stamp on the spine that continues onto the front cover. The author's name is in gold. The upper part of the spine is worn, as are all the corners. The inside of the book is clean and tidy, with the previous owner's name written in pencil on the first page. In the novel by the Norwegian author Jonas Lie (1833-1908), he portrays a family on a farm in Valdres. "The Family at Gilje" is a major work in Norwegian literature. Since its publication, the novel's portrayal of people and their cultural history has been praised time and time again. The novel depicts the opportunities and lack of opportunities for women in official positions.

Oslo, 1926. 8vo. Paperback in original paper cover. In very good condition. Fridtjof Nansen (1861-1930) was a Norwegian explorer and scientist. He led the first expedition in 1888 that crossed the inland ice of Greenland, which made him world-famous. In addition, he became known for his attempt to reach the geographic North Pole during the Fram expedition in 1893-96. Nansen was also a renowned oceanographer, zoologist, and diplomat. He was awarded the Nobel Peace Prize in 1922 for his humanitarian work as a high commissioner for refugees after World War I. Nansen's contributions to the fields of polar exploration and science have had a lasting impact on our understanding of the Arctic and Antarctic regions.

Paris, Gosselin, 1842. 8vo. In contemporary half calf with four raised bands. Light wear to extremities, corners bumped. Small paper-label pasted on to top outer corner of pasted down front end-paper. Light browning to upper and outer margin throughout, but generally internally nice and clean. (4), 347 pp.

London, Longmans, Green, and Co, 1879. 8vo. Two volumes uniformly bound in publisher's original cloth bindings with paper title-labels to spines. Spines with wear and hinges a bit weak. Tenth edition of what is probably Mill's greatest book, an epochal work in logical enquiry, not only for British philosophy, but for modern thought in general.

(Copenhagen, 1807). 8vo. In recent marbled paper covered boards. In "Det Kongelige Danske Videnskabers-Selskabs Skrifter", vol. 5. Ex-libris to verso of wrappers. Large dampstain to upper outer corner and outer margin. Pp. 17-70. First edition.

Hafniae (Copenhagen), Höpffner, 1734. 4to. In later marbled wrappers. Back-wrapper with loss of paper. Title-page with correct date in contemporary hand. Internally very nice and clean, printed on good paper. 56 pp. Rare first edition of Nicolaus Ryberg’s dissertation on gout.

London, J. Tonson, 1725. 8vo. In contemporary Cambridge-style mirror-binding with five raised bands. Old paper-label to top of spine. Spine with wear and corner's bumped. Internally with a few vague dampstain. (24), 352 pp. + 1 engraved plate (wanting frontispiece and 12 plates). Two title pages, both dated 1724, but with continuous pagination.

Amsterdam, Herman Uytwerf, 1723. 8vo. Bound in a bit later half calf binding with six raised bands with gilt lettering and ornamentation to spine. All edges coloured in red. Previous owner's name to title-page and internally with light occassional browning. XX, (8), 449,+ (3) pp. Fullpage wood-cut on p. 57. Second edition.

Kjøbenhavn, Reitzel, (1842). Hæftet papbind, med lettere slid i hjørner og kanter samt svage brunpletter, men ellers intakt. Bogen ligger i et gult omslag. (4), 100 pp. Orla Lehmanns forsvarstale er et betydningsfuldt dokument i dansk politisk og juridisk historie. Lehmann, en fremtrædende dansk politiker og jurist, spillede en central rolle i oppositionen mod Danmarks enevælde. Han er særligt kendt for sit engagement i den nationale sag og sin kamp for indførelsen af en fri forfatning. Lehmanns vej mod retssagen begyndte et år tidligere, den 30. januar 1841, hvor han holdt en markant tale, der senere blev kendt som Falstertalen. Denne tale, som blev holdt i Nykøbing Falster, var en skarp kritik af enevælden, hvor han udfordrede det absolutte monarki og opfordrede til politiske reformer. Lehmann talte åbent om nødvendigheden af en fri forfatning og et mere demokratisk styre, hvilket var i direkte opposition til det danske monarki. Orla Lehmanns kritik af enevælden og hans engagement i den liberale opposition gjorde ham til en central figur i kampen for et mere demokratisk Danmark. Efter Falstertalen blev der anlagt en generalfiskal-sag mod Lehmann for hans udtalelser, hvor han blev anklaget for at have opfordret til oprør mod staten. Sagen gik hele vejen til Højesteret, hvor Lehmann i 1842 forsvarede sig selv med en forsvarstale. Forsvarstalen, som er genstanden for denne bog, var både en personlig og politisk forsvarstale, hvor han forsøgte at retfærdiggøre sine synspunkter. Den var et stærkt forsvar for ytringsfrihed og en anklage mod enevældens undertrykkelse af politisk debat. Lehmanns forsvarstale er kendt for sin retoriske styrke og blev et symbol på kampen for demokratiske reformer i Danmark. Forsvarstalen var en del af den større bevægelse, der senere førte til vedtagelsen af Grundloven i 1849, som markerede overgangen fra enevælde til konstitutionelt monarki. Lehmann blev en af de centrale skikkelser i denne frihedsbevægelse. En vigtig del af Lehmanns politiske projekt var også hans engagement i Ejderpolitikken, som handlede om spørgsmålet om hertugdømmerne Slesvig og Holsten. Ejderpolitikken gik ud på, at Slesvig skulle knyttes tættere til Danmark og adskilles fra Holsten ved Ejderen. Dette var en vigtig del af den nationale bevægelse, som Lehmann støttede, og som i høj grad handlede om at sikre dansk suverænitet over Slesvig. Samlet set var Lehmanns forsvarstale ikke blot et personligt forsvar, men et politisk dokument, der satte fokus på større spørgsmål om frihed, demokrati og national suverænitet. Det er derfor, at talen i dag stadig står som et centralt dokument i forståelsen af dansk politisk historie.

Sorøe, Lindgren, 1763. 8vo. In contemporary half calf with five raised bands. A few scratches to boards and old paper-label to top of spine. With previous owner's name to title-page. Internally nice and clean. 144 pp. Rare first Danish translation of Boursault's "Esope à la ville" (1690).

Kiöbenhavn, Niels Christensen, 1801. 4to. In contemporary half calf. Wear to spine. Stamps to pasted down front end-paper and title-page, otherwise internally very nice and clean. Printed on good paper. VIII, 373 pp., 1 kobberstukket foldeplanche. Included is a 10 pp. manuscript in contemporary hand with instructions and guide to signs.

Kiøbenhavn, Friderich Christian Pelt, 1776. 8vo. In a nice recent full calf binding (Henning Jensen) with four raised bands and gilt lettering to spine. A few leaves slightly soiled but generally a nice and clean copy. (8), 544 pp. + 6 folded tables. The rare first edition of the most comprehensive Danish navigation and maritime law manual of its age. Intended as a complete handbook for shipmasters, merchants, and those engaged in overseas trade, the work provides practical guidance on every stage of a voyage - preparation, execution, and conclusion. It also contains essential contract forms, examples of ship documents and detailed commercial instructions. Later editions were enlarged to include the entire Danish maritime code (Søe-Ret), regulations concerning the Danish pilotage service (Lootsvæsenet), and extracts of royal ordinances relating to navigation and trade. The book thus served not only as a nautical vade mecum but also as a legal reference work, indispensable to Danish-Norwegian skippers navigating the Baltic, North Sea and Mediterranean. Biblioteca Danica I, 658.

London, Bloomsbury, 1999 (1997/1998 ?). Folio. Unbound, as issued, unopened in original plastic protection, in the original cardboard box with photographic paper-label to lid and to back. Number 518 out of 1000 copies, signed by Cale. The lid of the cardboard box with very light edge wear, otherwise mint condition. Richly illustrated throughout with photographs, reproductions of manuscripts, artworks, and memorabilia from Cale’s archives. Also included is a copy of the nornmal, unnumbered edition, dated 1999, in the original cardboard-binding with photographic paper-label to front and back board and printed spine. This copy is opened and with the same illustrated contents as the limited signed edition, which is unopened in its original plastic protection. Corners slightly bumped, otherwise a very nice and clean copy. 272 pp. Signed, numbered edition - rarely found in the trade - of John Cale's autobiography, an artwork in itself. Cale was a founding member of the American rock band the Velvet Underground: "arguably the most influential American rock band of our time" (The New York Times, October 3, 2013). The book mixes text, poetry, and collage-like visual material in an experimental narrative reflecting Cale’s avantgarde style. It covers Cale’s early years in Wales, his work with La Monte Young and the Theatre of Eternal Music, his period with The Velvet Underground and his subsequent solo and production career with Nico, Patti Smith, Brian Eno, The Stooges, and others.

Kjøbenhavn, Reitzel, 1844. 8vo. 100 pp. Completely uncut in the original printed brown wrappers with the text of the title-page repeated inside a frame to front board, printed author and title to spine, and the printing year within the same repeated frame to the back board. Lacking a bit of paper on the spine, but 2/3 of the original spineprinting preserved. Back wrapper lacking small piece of blank paper (ca. 2 x ½ cm). Light brownspotting to wrappers as well as leaves. An excellent copy, housed in a beautiful custom-made half morocco box with richly gilt spine in contemporary style. Gilt super ex-libris to front. The first edition in the exceedingly scarce original printed wrappers of Kierkegaard's religious accompaniment to his seminal philosophical stage work (Stages on Life's Way), Three Discourses on Imagined Occasions. As Stages on Life’s Way, Three Discourses... is divided into three sections: confession, marriage, and death – three crucial occasions in the life of each single individual. The three imagined discourses that constitute the present work – What It Means To Seek God, On the Occasion of a Confessional Service; Love Conquers All, On the Occasion of a Wedding; The Decisiveness of Death, At the Side of a Grave – deal with fundamental questions such as guilt, sin, forgiveness, marriage, and death. They all involve the anxiety of making a decision, a theme that is central in Kierkegaard’s philosophical as well as religious thought, placing these imagined discourses centrally in Kierkegaard’s “first” authorship. Himmelstrup 76. The present copy is no. 30 in Girsel's "Kierkegaard" (The Catalogue) which can be found here.

Frankfurt & Leipzig, 1744 & 1745. 8vo. Uniformly bound in two contemporary half calf bindings with four raised bands and gilt lettering to spines. Old paper-labels pasted on to top of spines. Wear to extremities, spines with a few holes. Internally nice and clean. (8), 118, (8), 132, 16 pp.; 56, 31, (1), 46, (2), 96 pp. + 1 folded maps and 1 folded plate. A rare sammelband containing six German “Ben Saddi” chronicles, beginning with the very rare first German translation of Robert Dodsley’s ”The Chronicle of the Kings of England” (London, 1740). Written under the pseudonym Nathan Ben Saddi the work recounts the history of the English monarchy from 1066 to 1603 in the style of the King James Version of the Pentateuch. It was both a literary satire and a commentary on monarchy and politics.

Kjøbenhavn, Andr. Schou, 1879. 12mo. Indbundet med det originale omslag i et nydeligt nyere halvlæderbind med rygforgyldning. En smule brunplettet. 97,(1) pp. Med dedikation fra Herman Bang på titelbladet: "Til Chr. Hansen / fra / Herman Bang / 20.4.79". Ex-libris påklistret verso af forperm (Poul Sandberg) og verso af foromslag (Rudolf Roussell). Dedikationseksemplar af den sjældne originaludgave af Bangs debut. Eksemplaret er dedikeret til Kongelige kammersanger Jørgen Christian Hansen (1812–1880), udnævnt af Frederik 7. ”Christian Hansen var 1836-1874 operasanger ved Det Kongelige Teater (baryton) og havde fra 1854 titel af kgl. Kammersanger. Efter 1874 medvirkede han i enkelte forestillinger på Casino. Måske har Bang kendt ham siden 1874, hvad dedikationen to afsluttende årstal kan tænkes at hentyde til. Ved Christian Hansens død 24.2.1880 skrev Bang en fyldig nekrolog , trykt i Nationaltidende 29.2.1880; senere samme år blev den genoptrykt i hans bog Kritiske Studier og Udkast, s. 156-166, under titlen: ”ROmantiskens Sanger”. (Posselt, Bibliofiler 21) Posselt, Bibliofiler 21, Paul Sandberg samling af Herman Bang-dedikationer, nr. 2 Herring, 61.

Berlin, Christian Friedrich Voss, 1766. 8vo. An excellent copy in a late 19th century red half calf with five raised bands and gilt lettering to spine. Fore- and lower edge uncut. Upper edge coloured in red. Spine with a few scratches and a bit of wear. End-papers with annotations in pencil and remains of a removed book-plate. Internally in very nice condition, with light occassional brownspotting. (8), 298 pp. First edition of Lessing’s landmark work in the history of art theory. In Laokoon, Lessing argues that each art form operates within its own distinct boundaries, that the principles of poetry cannot be applied to sculpture or painting, and vice versa. Lessing’s Laokoon was written as a response to Johann Winckelmann's ”Geschichte der Kunst des Alterthums” (1764). Lessing challenges Winckelmann’s interpretation of the famous Laocoon statue, arguing that Winckelmann portrays the figure’s suffering as too noble and composed - an expression suitable for poetry, but not for sculpture, whose medium cannot convey inner emotion in the same way. “Laokoon is perhaps Lessing’s best known work outside Germany, and it has had a world-wide influence. It takes its name from the famous statue discovered at Rome in the sixteenth century. It analyses the differences between the sculptor’s treatment of Laocoon wrestling with the serpents and Virgil’s treatment of the same theme, and from there goes on to discuss the limits and limitations of all the arts. It contains the first clear statement of the truth, which is now considered axiomatic, that every art is subject to limitations, and can achieve greatness only by a clear understanding of and self-restriction to its proper function. The most telling passages, and those which have borne most fruit, are those on poetry. Lessing knew more about this than about painting and sculpture, for which he was entirely dependent on Winckelmann (210). His exposition of the themes of Homer and Sophocles is especially effective, and he opened up a new prospect in the appreciation of Greek literature. Yet perhaps Lessing is best judged by the sum of his achievement. He was one of the principal figures in the Aufklärung, the emancipation of German literature from the narrow classicism of the French school. It was he, more than any other, who laid the foundations of the intellectual primacy of German writers and thinkers in the nineteenth century, a debt which they were not slow to acknowledge. Without attaching himself to any special philosophical school, he consistently opposed error and dogmatism, and in art, in poetry, in drama and in religion he provided new stimulation. In the words of Macaulay, he was ‘beyond all dispute the first critic of Europe’.” (PMM 213) PMM 213

Kjøbenhavn, Reitzel, 1844. Small 8vo. 110, (1) pp. Completely uncut in the original blue cardboard-binding. Minimal wear to capitals, and hinges with a tiny tear to front upper and back hinge. Minute paper loss to capitals, and minimal loss to one corner. The printed title-label preserved in its entirety. Brownspotting due to the quality of the paper.A truly magnificent copy in completely original state – almost looks like it came straight off the press. First edition of Kierkegaard's most humorous book, Prefaces, in the very rare original blue binding in truly magnificent state and with the printed title-label preserved in its entirety. Published simultaneously with The Concept of Anxiety, Prefaces can be viewed as its companion piece. It represents an altogether different genre and is the most humorous of all of Kierkegaard’s works, but the two fictional authors of the works interestingly contrast each other. Although having been eclipsed by the now notoriously famous Concept of Anxiety, Prefaces was in fact more popular when it appeared and sold many more copies. Written under the pseudonym of Nicolaus Notabene, the “author” name indicates that despite its humorous approach, Prefaces is still something serious – something to be noted. And it certainly is. It is here that we find Kierkegaard’s sarcastic roasting of the Hegelian system and of the Danish Hegelians with Johan Ludvig Heiberg as the main representant. Through Notabene, he makes fun of Heiberg and Hegel, who both want to explain everything and want to be mediators of understanding. Just as Hafniensis in The Concept on Anxiety poses that “how sin came into the world each man understands solely by himself. If he would learn it from another, he would misunderstand it” (p. 51), so Notabene in Prefaces states that “My frame, my health, my entire constitution do not lend themselves to mediation” (p. 45). In Prefaces we also find Kierkegaard’s thoughts about the relationship between the reading public and the author and his fierce criticism of literary critics and reviewers, among these also Heiberg as well as Martensen, who famously reviewed Either-Or and Repetition respectively. And in the very amusing preface to the Prefaces, we are given another glimpse into Kierkegaard’s thoughts on marriage and the dilemma he found himself in with Regine – the inner struggle between he, who is the husband, and he, who is the author; can one be both? With its challenging notions on the idea of the book and the interaction of the book with its readers, his little ironic masterpiece is a clear forerunner of Postmodernism. “Kierkegaard’s ‘Prefaces’ is a brief though not unimportant work. Themes he develops elsewhere at greater length here are presented with characteristic insight and wit. This richly suggestive text has never received the attention it deserves. William McDonald’s fine translation now makes it possible to assess the importance of ‘Prefaces’ for Kierkegaard’s œuvre and to appreciate its significance for philosophical, literary, and theological issues that are still with us.” (From the review of William McDonald’s 1989 edition of Prefaces in English in the Kierkegaard and Postmodernism-series). Written under a pseudonym and without Kierkegaard’s name appearing as publisher or indeed as anything else, he was unable to give away presentation-copies of the work (due to his own strict set of rules for this). Thus, not a single presentation copy of the work exists. A single copy of the book was in the auction catalogue of his book collection after his death. Himmelstrup 70. The present copy is no. 28 in Girsel's "Kierkegaard" (The Catalogue) which can be found here.

(København), 1845. Large 4to (33 x 24, 8 cm). 2 columns to a page. Columns 15145 – 15160. 4 ff. + 1 f. (Følgeblad til Nr. 1890). Kierkegaard’s article is printed as a feuilleton at the bottom of the pages, beneath a printed double-line (this section is reserved for the serials), and runs from columns 15147-15153 + 15155-15159. Marginal dampstaining. The exceedingly scarce original printing of the two issues of The Fatherland that contain Kierkegaard’s highly important article on the performance of Don Giovanni at The Royal Theatre of Copenhagen in 1845. The present paper entitled A Cursory Observation Concerning a Detail in Don Giovanni, signed “A”, is of great importance in connection with Either-Or, to which Kierkegaard indirectly refers twice. The paper is in two parts and was printed over two numbers of The Fatherland, Monday 19th of May and Tuesday 20th of May, 1845. The occasion that prompted the paper was the re-staging of Don Juan at the Royal Theatre on February 23rd, 1845. Last time, Don Juan had been performed at The Royal Theatre was the season of 1839-40, where Kierkegaard was certainly also present. The first part of Either-Or contains “A’s Papers” (note that the present paper is signed by “A” as the author); it is in this part of the work that we find the chapter about the erotic stages, The Immediate Erotic Stages, Or The Musical-Erotic, which is devoted to the music of Mozart, in particular Don Juan. For Kierkegaard, Don Juan represents sensuality. And there is no other place where the untamed power of nature is better expressed than in Mozart’s Don Juan. Mozart’s Don Juan influenced Kierkegaard more than any other work of art, and throughout his life he returns to just how magnificent it is – “A work of genious that carries the touch of eternity”. Together with The Immediate Erotic Stages, Or The Musical-Erotic in Either-Or, the present article is Kierkegaard’s most important printed piece on Don Juan. When Nielsen collected and published Kierkegaard’s newspaper articles posthumously, in 1857, he apparently did not realize that Kierkegaard was also the author of the present pseudonymous paper and did not include it in his publication. It appeared as a separately published appendix two years later, in 1859, with remarks about the references to Either-Or. Fædrelandet – litterally translated as ”The Fatherland” – was a Danish newspaper that was founded in 1834 and existed until 1882. In the beginning it appeared weekly, but in 1839, it began appearing daily. With its cultural and political contents, it soon became the leading paper of the national liberal opposition. The paper was the most important paper in Kierkegaard’s time and the one that more than any other influenced public opinion. During the first years of its existence, the paper had numerous different publishers and editors. It also ended up in numerous controversies with the censorship authorities, resulting in many trials and fines. From May 1841, the editors of the paper were Carl Ploug and J.F. Giødwad. The latter would come to play an enormous role in Kierkegaard’s authorship, as would The Fatherland itself. Giødwad was one of the very few people that Kierkegaard has ever characterized as a “personal friend” (SKS 21 214,10). It is very likely that this friendship was initiated in 1842, when Kierkegaard published his first paper in The Fatherland, Aabenbart Skriftemaal. We know that from the Christmas of 1842, Giødwad helps with the proof reading of Either-Or and is thus clearly one of the most trusted people in his life. As we shall see later, it was also Giødwad, who represented Kierkegaard in dealings with publishers and printers, when it had to do with the pseudonymous writings, thus protecting Kierkegaard’s pseudonymity and shielding him from the public. Giødwad himself said that Kierkegaard initially got a favourable impression of him when at some point he had dismissed a reader, who wished to know who was behind an anonymous paper published in The Fatherland (see A.D. Jørgensen’s statement from 1885 in Kirmmsee, Søren Kierkegaard truffet, p. 88). Kierkegaard trusted Giødwad completely, and thereby also The Fatherland. Apart from his four earliest papers in Kjøbenhavnsposten (see nr. 1 above), The Fatherland was the only paper Kierkegaard would publish in. During its entire existence, The Fatherland would be published in ca 2.000 copies, making it of the utmost scarcity today. Almost all copies of it have been destroyed, thrown out, worn, etc., and it is extremely rare on the market. The few issues we have at the moment are the only ones from this period that we have ever seen for sale. Himmelstrup 84. The present copy is no. 33 in Girsel's "Kierkegaard" (The Catalogue) which can be found here.

Lugduni (Lyon), Apud Matthiam Bonhomme, 1554 + 1555. Folio. Bound in one worn contemporary full calf binding with blindstamped title-label to back. Wormholes to lower front board and spine. Capitals defect, lacking leather. Corners bumped, extremities worn, but binding tight. First title-page in facsimile, otherwise complete. Last leaf of index of the second title with restoration to upper right corner, affecting a few letters, and last leaf mounted from verso. Internally very fine and clean, except for a later tape hinge to the first leaf and a re-enforced paper-hinge to the lasat leaf of the second work. Numerous beautiful woodcut initials and vignettes. Woodcut portrait of Rondelet in both volumes, woodcut illustration to second title-page, in all about 430 woodcut illustrations of all aquatic animals, i.e. fish, marine mammals, arthropods, mollusks, riverine amphibians, beavers etc. In Latin with Greek text. (16), 583, (1), (24 - index) pp + (12), 242, (9) pp. Scarce first edition of this magnificent Renaissance work on fish and other marine animals, which laid the foundations for later ichthyological research and remained the standard reference work in the field for over a century. This work is mostly seen incomplete, often lacking index or missing illustrated leaves. In 1558, a French language edition was published, also in Lyon, being the first French work devoted to fish ever published. As professor of medicine and eager student of anatomy, G. Rondelet (1507 - 1566) was also the personal physician of Francois Cardand Tournon, whom he accompagnied on many trips to towns along the coast, where he was able to make observations of interest to natural history, for example by studying whaling. "Although he was active in several branches of biology, Rondelet's reputation effectively depends on his massive compendium on aquatic life, which covered far more species than any earlier work in that field. Despite its theoretical limitation, it laid the foundations for later ichthyological research and was the standard reference work for over a century." (D.S.B., XI:527). Rondelet was a very popular teacher (both of anatomy and zoology), who had a great deal of influence on his students, among whom we find the two great zoologists Aldrovandi and Gesner.This his work on aquatic life is without doubt his main work, the work for which he claimed so great fame and because of which he is now referred to as "the grandfather of modern ichthyology" (Wood, p. 541). This magnificent work was groundbreaking in many ways. Firstly, it went beyond Aristotle, actually proving him wrong. Rondelet observed the animals themselves and did not only theoretizise over them. That combined with his great anatomical knowledge enabled him to present the world with entirely new material and discoveries; for example, this is the first published work containing zoological accounts of the sperm whale and the manatee. Never before had the world seen a structered compilation of zoology like this, -profusely illustrated, giving account of every known species. "He is best known by his work on sea fishes - "De Piscibus marinis" - which included whales, eeals, cephalopods, crustacae, and vermes. He was especially noted for his dissection of these animals, which led him to contradict many of the assumptions of Aristotle." (Wood, p. 12). In this work, many species are depicted for the first time, and with it the foundation of modern zoology is established. Nissen ZBI 3474, Wood, p. 541.

Dresden, Verlag von Gerhard Kühtmann. 1897. Large4to. In contemporary half cloth with leather title-label to spine. Light discolouration to upper margins of boards. Inner front hinge quite weak. Internally very nice and clean. VII, 316 pp. + 52 colour lithograph plates and 266 monotone illustrations (included in the pagination). First edition of one of the most important and influential art-historical publications of the Belle Époque. This magnificent work established the artistic poster as a recognised and serious art form. The work provides a comprehensive geographical survey of the principal poster artists of the day and includes 52 colour lithograph plates and 266 monochrome illustrations by Chéret, Toulouse-Lautrec, Steinlen, Grasset, Mucha, Will Bradley, Louis Rhead, and others. Jean Louis Sponsel (1858–1930) was a German art historian and museum director in Dresden, known for his studies on the decorative and graphic arts. Director of the Grünes Gewölbe and scholar of the Kupferstich-Kabinett, he was among the first to recognise the artistic importance of the modern poster. The present work remains a landmark publication, elevating poster design to the status of fine art.

Hafniae, Henrik Gøde, 1668. 4to. In contemporary half calf with five raised bands and gilt lettering to spine. All edges coloured in red. Wear to spine. Head of spine with repair. Previous owner's label (H. I. Andersen) and Ex-libris (Sunil Saigal) to pasted down front end-paper. Title-page closely trimmed, touching text in outer margin. Closely trimmed in upper margin, occassionally touching text. With sporadic brownspotting throughout. (32), 431, (13) + 5 folded plates. With numerous woodcuts included in the pagination. First and only edition of this beautifully illustrated guide to inscriptions found on Copenhagen’s main buildings, with an extensive section on Tycho Brahe and his sister Sophie. The work surveys the city’s religious, royal and civic monuments, providing transcriptions of inscriptions from such sites as the Church of the Holy Ghost, St. Peter’s and Trinitatis Church. The last is illustrated in a fine folding engraving of the newly completed Round Tower (Rundetaarn) by Johann Andreas Greyss, dated 1657. The substantial final section is devoted to Tycho Brahe’s Uraniborg and Stjerneborg observatories on Hven, with illustrations derived from the 1601 Astronomiae Instauratae Mechanica and a map of Hven after Willem Jansz Blaeu’s Atlas.From the collection of H. I. Andersen. Thesaurus II:620. Birkelund nr. 58.Biblioteca Danica II, 608.Rosenkilde & Bagger: H. I. Andersens Topografiske Bibliotek no. 1019.

Colophon: Pisauri (Pesaro), Hieronymum Concordiam, 1588. (Having the reprinted title-page: Venetiis, Franciscum de Franciscis Senemsem, 1589). Folio. Contemporary limp vellum. Repairs to upper part of spine and small nicks to back repaired. Edges of covers with tiny loss of vellum. Covers slightly soiled. Calligraphed title on back. Title-page with and old, partly erased stamp. Woodcut printer's device on title-page. Ff (3), 334 (332) (= 664 pp). Numerous woodcut diagrams and illustrations in the text. Printed on good paper. Ff. 2-3 with an old repair to inner margin (no loss). F2 browned, but otherwise remarkably clean with only a few brownspots. A few small worm-tracts to some margins. In spite of its flaws, a very good copy of this monumental work. First edition, title-issue (with the fresh title-page stating 1589, but with nothing else reprinted and otherwise through and through the 1588-printing), of Commandino's seminal Latin translation of the work that constitutes the culmination of Greek Mathematics. This printing, which contains the complete extant text of Pappos in Latin translation is responsible for reviving ancient mathematics in the Renaissance and shaping much modern mathematics, profoundly influencing the likes of Descartes and Newton. "Pappos was the greatest mathematician of the final period of ancient science, and no one emulated him in Byzantine times. He was the last mathematical giant of antiquity." (George Sarton, Ancient Science and Modern Civilization. p.82). "Pappus of Alexandria in ab. 320 composed a work with the title Collection (Synagoge) which is important for several reasons. In the first place it provides a most valuable historical record of parts of Greek Mathematics that otherwise would be unknown to us. For instance it is in Book V of the Collection that we learn of Archimedes' discovery of the thirteen semiregular polyhedra or "Archimedian solids". Then, too, the Collection includes alternative proofs and supplementary lemmas for propositions in Euclid, Archimedes, Appolonius and Ptolemy. Finally, the treatise includes new discoveries, and generalizations not found in any earlier work. The Collection, Pappus' most important treatise, contained eight Books, but the first Book and the first part of the second Book are now lost" (Boyer, A History of Mathematics p. 205). "Each book (8) is preceded by general reflexions which give to that group of problems its philosophical and historical setting. The prefaces are of deep interest to historians of mathematics and, therefore, it is a great pity that three of them are lost [...] Book VII is far the longest book of the Collection [...] [and here], we find in it the famous Pappo's problem: "given several straight lines in a plane, to find the locus point, such that when straight lines are drawn from it to the given lines at a given angle, the products of certain of the segments shall be in a given ratio to the product of the remaining ones". This problem is important in itself, but even so because it exercized Descartes' mind and caused him to invent the method of coordinates explained in his Geométrie (1637). Think of a seed lying asleep for more than thirteen centuries and then helping to produce that magnificent flowering, analytical geometry [...] The final Book VIII is mechanical and is largely derived from Heron of Alexandria. Following Heron, Pappos distinguished various parts of theoretical mechanics (geometry, arithmetic, astronomy and physics). The Book is considered the climax of Greek mechanics and helps us to realize the great variety of problems to which the Hellenistic mechanicians addressed themselves. If Book VIII is the climax of Greek mechanics, we may say as well that the whole collection is a treasury and to some extent the culmination of Greek mathematics. [...] The ideas collected or invented by Pappos did not stimulate Western mathematicians until very late, but when they finally did, they caused the birth of modern mathematics- analytical geometry, projective geometry, centrobaric method. That birth or rebirth from Pappos' ashes, occurred within four years (1637-40). This was modern geometry connected immediately with the ancient one as if nothing had happened between." (Georg Sarton op.cit.). - It is from Pappus we have the famous words of Archimedes: "Give me a place to stand, and I will move the earth" (Se PMM No 72). - "Without pretending to great originality, the whole work shows, on the part of the author, a thorough grasp of all the subjects treated, independent of judgement, mastery of technique; the style is terse and clear; in short, Pappus stands out as an accomplished and versatile mathematician, a worthy representative of the classical Greek geometry." (Heath, A History of Greek mathematics Vol. II: p.358). Adams P 224 (The sheets of the Pisauris edition with a fresh title).

Kjøbenhavn, Reitzel, 1844. 8vo. 100 pp. Original gift-binding of the black glitted paper with single gilt lines to spine and all edges gilt. Spine very neatly restored. The restoration covers a bit of the glitted paper that has been worn off, but the restoration in barely noticeable. A splendid, clean, fresh, and tight copy. Old owner’s name (Jens Jørgensen) to front free end-paper. The only known presentation-copy, that for Madvig, of Kierkegaard's religious accompaniment to his seminal philosophical stage work (Stages on Life's Way), Three Discourses on Imagined Occasions.Inscribed to front free end-paper: ”Til Hr Prof. Madvig / R af D. / Med ærbødig Høiagtelse / fra / Forf.” (i.e. for Mr. Prof(essor) Madvig / R of D. (Ridder (i.e. Knight) af Dannebrog – an honorary title / with respectful / reverence / from / the Author”). As Stages on Life’s Way, Three Discourses... is divided into three sections: confession, marriage, and death – three crucial occasions in the life of each single individual. The three imagined discourses that constitute the present work – What It Means To Seek God, On the Occasion of a Confessional Service; Love Conquers All, On the Occasion of a Wedding; The Decisiveness of Death, At the Side of a Grave – deal with fundamental questions such as guilt, sin, forgiveness, marriage, and death. They all involve the anxiety of making a decision, a theme that is central in Kierkegaard’s philosophical as well as religious thought, placing these imagined discourses centrally in Kierkegaard’s “first” authorship. Johan Nicolai Madvig (1804-1886) was a classical scholar and politician. As one of the greatest classical scholars of the nineteenth century, Madvig’s influence on scholarly and cultural life in Denmark can hardly be overestimated. Madvig served five times as rector of the University of Copenhagen, president of the Royal Danish Academy of Sciences and Letters as well as the first chairman of the Carlsberg Foundation. Alongside his astonishingly prolific scholarly career, Madvig had a very successful political career, serving as chairman of the Danish Parliament, president of the Privy Council and Minister of Education. As the leading Danish classical scholar of his time, Madvig discussed with Kierkegaard parts the manuscript for On the Concept of Irony before the public defense of the thesis and continued to play an important role in his life. Only one single presentation-copy of the Three Discourses has been registered and is known to exist (the present). Himmelstrup 76. The present copy is no. 29 in Girsel's "Kierkegaard" (The Catalogue) which can be found here.

Kjøbenhavn, Reitzel, 1844. Small 8vo. 110, (1) pp. Splendidly bound in beautiful ornamental mint green patterned paper over boards with branches, flowers, birds, squirrels, and dogs in a relief-pattern. Green end-papers and all edges gilt. Printed on fine vellum-paper. Slight soiling to spine and a bit of wear to paper on spine and over boards, where the relief is high. But a splendid, tight copy with no restorations and absolutely minimal brownspotting.Back pasted-down end-paper with a later, neat pencil-inscription from the previous owner stating that this is Kierkegaard’s own copy, bought by Høedt at the auction after Kierkegaard’s death and stating where the previous owner found the copy in 1995.Housed in a beautiful marbled paper box with richly gilt greenish morocco spine in ornamental pastichestyle with a red gilt leather title-label with Gothic gilt lettering. Gilt super ex-libris to front board (Anker Kysters Eftf., gilt by Hagel Olsen). The most splendid copy of the first edition possible, namely Kierkegaard’s own copy, one of the two copies he had printed on special paper and specially bound, one for Regine, one for himself. This is Kierkegaard’s own copy that he kept himself, from the love-set of the two copies of Prefaces he had made, where the other was for Regine. One of the two copies of the book that he had made on special paper and bound in this particularly beautiful and romantic binding. Kierkegaard had his eight pseudonymous works made like this, one for Regine, one for himself. So far, only four of these have surfaced, Regine’s copies of Repetition, Prefaces, and Either-Or (all sold at auction in 2002), and Kierkegaard’s own copy of Either-Or (in the Danish Royal Library). The other copies are unregistered, and the whereabouts unknown. The present copy is presumably that described merely as “dainty w. gilt edges”, nr. 2133 from the auction catalogue of Kierkegaard's books sold after his death. Published simultaneously with The Concept of Anxiety, Prefaces can be viewed as its companion piece. It represents an altogether different genre and is the most humorous of all of Kierkegaard’s works, but the two fictional authors of the works interestingly contrast each other. Although having been eclipsed by the now notoriously famous Concept of Anxiety, Prefaces was in fact more popular when it appeared and sold many more copies. Written under the pseudonym of Nicolaus Notabene, the “author” name indicates that despite its humorous approach, Prefaces is still something serious – something to be noted. And it certainly is. It is here that we find Kierkegaard’s sarcastic roasting of the Hegelian system and of the Danish Hegelians with Johan Ludvig Heiberg as the main representant. Through Notabene, he makes fun of Heiberg and Hegel, who both want to explain everything and want to be mediators of understanding. Just as Hafniensis in The Concept on Anxiety poses that “how sin came into the world each man understands solely by himself. If he would learn it from another, he would misunderstand it” (p. 51), so Notabene in Prefaces states that “My frame, my health, my entire constitution do not lend themselves to mediation” (p. 45). In Prefaces we also find Kierkegaard’s thoughts about the relationship between the reading public and the author and his fierce criticism of literary critics and reviewers, among these also Heiberg as well as Martensen, who famously reviewed Either-Or and Repetition respectively. And in the very amusing preface to the Prefaces, we are given another glimpse into Kierkegaard’s thoughts on marriage and the dilemma he found himself in with Regine – the inner struggle between he, who is the husband, and he, who is the author; can one be both? With its challenging notions on the idea of the book and the interaction of the book with its readers, his little ironic masterpiece is a clear forerunner of Postmodernism. “Kierkegaard’s ‘Prefaces’ is a brief though not unimportant work. Themes he develops elsewhere at greater length here are presented with characteristic insight and wit. This richly suggestive text has never received the attention it deserves. William McDonald’s fine translation now makes it possible to assess the importance of ‘Prefaces’ for Kierkegaard’s œuvre and to appreciate its significance for philosophical, literary, and theological issues that are still with us.” (From the review of William McDonald’s 1989 edition of Prefaces in English in the Kierkegaard and Postmodernism-series). Written under a pseudonym and without Kierkegaard’s name appearing as publisher or indeed as anything else, he was unable to give away presentation-copies of the work (due to his own strict set of rules for this). Thus, not a single presentation copy of the work exists. A single copy of the book was in the auction catalogue of his book collection after his death – described as in a dainty binding and with all edges gilt. Like Repetition and his other seven pseudonymous works, Prefaces, was printed in two copies both on vellum-paper and bound in special bindings, one for Regine, one for Kierkegaard himself. 24 years ago, three of these books surfaced, at an auction in 2002, namely Either-Or, Repetiton, and Prefaces, all being the copies Kierkegaard had bound for Regine. Before that, only one single copy of one of these eight titles for Kierkegaard himself or for Regine were known (namely Kierkegaard’s own copy of Either-Or, which is in the Danish Royal Library). Seven of the books, Kierkegaard’s own copies, were listed in the auction catalogue after his death, but apart from the mentioned copy of Either-Or in the Royal Library, the others had not been found. Kierkegaard’s wildly famous love story and failed engagement to Regine Olsen plays a pivotal role throughout Kierkegaard’s entire life and work. It all begins in 1837, when Kierkegaard meets the lovely young girl Regine Olsen at a visit to the widowed Cathrine Rørdam. Three years later, in September 1840, after having corresponded frequently with her and visited her on numerous occasions, Kierkegaard decides to ask for her hand in marriage. She and her family accept, but the following day, Kierkegaard regrets his decision and ends up finally breaking off the engagement in October 1841. Disregarding the scandal, the heartbreak (his own included), and the numerous pleas from family members and friends alike, Kierkegaard’s tortured soul, still searching for God and for the meaning of faith, cannot continue living with the promise of marriage. Later the same month, he flees Copenhagen and the scandal surrounding the broken engagement. He leaves for Berlin, the first of his four stays there, clearly tortured by his decision, but also intent on not being able to go through with the engagement. As is evident from his posthumously published Papers, Kierkegaard’s only way out of the relationship was to play a charming, but cold, villain, a charlatan, not betraying his inner thoughts and feelings. Despite the brevity of the engagement, it has gone down in history as one of the most significant in the entire history of modern thought. It is a real-life Werther-story with the father of Existentialism as the main character, thus with the dumbfounding existentialist outcome that no-one could have foreseen. This exceedingly famous and difficult engagement became the introduction to one of the most influential authorships in the last two centuries. “She was the reason for my authorship”, Kierkegaard writes in his Papers, and there is no doubt that several of his most significant works are born out of the relationship with Regine – and its ending. It is during his stay in Berlin, his first of four altogether, right after the rupture of the engagement, that he begins writing Either-Or, parts of which can be read as an almost autobiographical rendering of his failed engagement. After a couple of years, Regine got engaged to someone else, whom she married in 1847. But as is well known, Kierkegaard never married, and the impact of his engagement to Regine and what it made him understand – about himself, about religion, faith, the inner workings of the philosopher and the poet –, never lost its significance. It is evident from the many drafts of a letter that he sent to Regine, through her husband, in 1849 (which was returned to him, unopened) that he had never lain the matter to rest and that the relationship with Regine was still very much alive. He also states in his Notebook 15 from 1849 “By the way, it is certainly the case that my relationship with her has been a very close, present study for me of what faith is. For I know better in this relationship how it is apparently the exact opposite of the foundational. That I have lasted in this relationship has been useful for me in relating to God as a believer.” In his Notebook 15, also known as My Relationship with Her, from 1849, Kierkegaard describes how, when he finally broke off the engagement and she tried to get him to stay, she had told him “that she would thank me her entire life for being allowed to stay with me, even if she were to live in a little cupboard” (SKS No. 16: 6). Thus, Kierkegaard had a little cupboard made, with no shelves in it. Here, he kept “everything that reminds me of her and will remind me of her. There is also a copy of the pseudonyms (i.e. the works that he wrote under a pseudonym); of these, there were always only two copies on vellum-paper, one for her and one for me.” (SKS: Not. 15:6.). In all, Kierkegaard wrote eight pseudonymous books, Prefaces being one of them, all of which were evidently printed in two copies each on vellum-paper and bound in special bindings, one for Regine, one for Kierkegaard himself. Himmelstrup 70 The present copy is no. 27 in Girsel's "Kierkegaard" (The Catalogue) which can be found here.