Sökresultat

108 skisser i akvarell, blyerts och tusch. Ej daterade, de flesta cirka 1920-1940 och ett fåtal även något senare. Olika format, de flesta cirka 25x35, 30x40 och 50x60 cm. Samlingen i övergripande gott skick men en del marginalrevor och småfläckar förekommer, cirka tjugo skisser med revor och små förluster i bildyta, till största del kortare revor men även ett par längre. De flesta med knappnålshål efter tidigare uppsättning. Alla utom två med maskinskrivna lappar påklistrade på baksidan med uppgifter om till vilken uppsättning skissen framställt. En stor del med Malmquists egna noteringar. Omfattande samling teaterskisser utförda av scenografen Sandro Malmquist (1901-92) under 1920- och 1930-talen. Samlingen omfattar Malmquists arbeten vid scener som Lorensbergsteatern, Dramaten och Oscarsteatern och innehåller skisser för scenografi och kostym för följande uppsättningar: Björnstjerne Björnson ”Geografi och kärlek” (1 st); Pedro Calderón de la Barca ”Livet en dröm” (12 st); Knut Hamsun ”Livets lek” (1 st); Friedrich Hebbel ”Gyges und sein Ring” (1 st); Ludvig Holberg ”Jeppe på berget” (8 st); Henrik Ibsen ”Brand” (2 st); Erik Axel Karlfeldt ”Yttersta domen” (9 st); Pär Lagerkvist ”Han som fick leva om sitt liv” (1 st); Jules Romain ”Diktatorn” (1 st); George Bernard Shaw ”Sankta Johanna” (34 st) och William Butler Yeats ”Längtans land” (3) st samt 35 övriga skisser bestående av bl.a. tretton skisser för balettpantomier, skisser för revyer, en skiss utförd i tonåren och ett akvarellporträtt föreställande Max Reinhardt. Nästintill samtliga skisser bär maskinskrivna etiketter på baksidan med uppgifter om uppsättning eller trolig uppsättning i de fall det varit oklart. Identifieringen av skisserna är gjorda av Sandro Malmquist själv och Ann-Margret Liljequist i början av 1970 enligt ett bifogat brev. Liljequist publicerade 1985 sin avhandling ”Sandro Malmquist och hans verksamhet som scenograf”. Avhandlingen bygger till stor del på materialet i denna samling och Liljequist analyserar ingående de olika uppsättningarna utifrån detta material – som delvis också finns avbildat i avhandlingen. Ett exemplar av avhandlingen medföljer tillsammans med det nämnda brevet och ett par pressklipp. Skisserna har bl.a. ställts ut på Valand 1923, Teaterutställning i Helsingfors 1924, separatutställning i Stockholm 1927, Deutsche Theater-Ausstellung 1927, Svensk teaterkonst under tjugo år 1936 och Teaterutstillingen Kunsternes Hus i Oslo 1951. Malmquist studerade vid Lorensbergsteaterns elevskola i Göteborg 1920-23 och fortsatte efter studierna vid Lorensbergsteatern som scenograf och regiassistent fram till 1926. Han studerade för den österrikiske regissören Max Reinhardt (1873-1943) i Berlin 1924-25 och blev vid hemkomsten utnämnd till chefsdekoratör på Oscarsteatern. 1927 återknöt han samarbetet med Per Lindberg, som han varit regiassistent åt vid Lorensbergsteatern när dennes pjäser uppfördes på Dramaten. Utöver arbetet som scenograf grundade Malmquist även teaterscenerna ”De ungas teater”, ”Den glada åsnans teater” och ”Nya teatern” under slutet av 1920-talet och under 1930-talet. Han arbetade under trettiotalet även med Gösta Ekmans och Karl Gerhards uppsättningar. Från 1939 var han regissör vid Riksteatern och även under tre år chef för Malmö stadsteater.

Kjøbenhavn, Johan Christoph Groth, 1741. 133 sider + kobbertryk + udfold. kort. Indb. orig. spejlbind, hellæder og gulddek. ryg.. Afhentes på: Læderstræde 9, kld., 1210 København K Det gamle Grønlands Nye Perlustration, Eller Naturel-Historie, Og Beskrivelse over det gamle Grønlands Situation, Luft, Temperament og Beskaffenhed; De gamle Norske Coloniers Begyndelse og Undergang der Samme-Steds, de izige Indbyggeres Oprindelse, Væsen, Leve-Maade og Handtæringer, samt Hvad ellers Landet Yder og giver af sig, saasom Dyer, Fiske og Fugle etc. med hosføyet nyt Land-Caart og andre Kaaber-Stykker over Landets Naturalier og Indbyggernis Handtæringer. Med dedikation til Hans Egedes Ætling, hr. adjunkt A.V. Gram fra Hans Wigelsen, 1876. Let gulnede sider. Lidt stift bind

Shanghai, Watson, 1920. 38x29. VIII+42+IV pp. + 66 leaves, each with one tipped-in plate. Publisher's blue satin cloth, gilt-lettered and decorated with Chinese ciphers, a very fine copy. Edition limited to 1000 numbered copies of which this is no. 331, printed for H[ugo] v. Heidenstam. The Swedish engineer and diplomat Hugo von Heidenstam served as chief engineer at the Chinese International Commission for Shanghai River and Port 1910-1928, and as a member of the Chinese Government's Committee on the Regulation of Yangtsekiang 1917-1928. Most likely of Scottish origin, Donald Mennie arrived in China in 1899 and worked initially for the firm Mactavish & Lehman & Co., one of the first Shanghaiese producers of picture post-cards, before moving to the likewise Shanghai-based company of A.S. Watson & Co. Mennie became a managing director of the firm and a leading entrepreneur in China in the 1920s and 30s, but he also had a passion for photography, and used his position in Watson's to get his photographs published.

Kiøbenhavn, Godiche, 1763-81. Illustreret med 296 kobberstik og fold. kort. Indb. samtidig hellæder med ophøjede rygbånd og rigt gulddek. rygge. Afhentes på: Læderstræde 9, kld., 1210 København K Den Danske Atlas, Eller Konge-Riget Danmark, Med dets Naturlige Egenskaber, Elementer, Indbyggeres, Væxter, Dyr og andre Affødninger, dets gamle Tildragelser og nærværende Omstændigheder i alle Provintzer, Stæder, Kirker, Slotte og Herre-Gaarde. Forestillet ved en udførlig Lands-Beskrivelse, saa og oplyst med dertil forfærdigede Land-Kort over enhver Provintz, samt ziret med Stædernes Prospecter, Grund-Ridser, og andre merkværdige Kaaber-Stykker. 7 Vol. Let slid på bindenes kanter og kapitæler. Enkelte kantrifter i siderne, men fremstår som et smukt og sundt værk

London, Awnsham and John Churchill, 1704. 4 volumes. C + (4) + 813 + (8) + 1 blank; (2) + 838 + (12); (3) + 1 blank + (6) + 901 + (17); (1) + 1 blank + (1) + 1 blank + (1) + 1 blank + (2) + 848 + (12) p. + 2 engraved part titles, 2 engraved portraits, 105 engraved plates, of which 5 full page, and 100 engravings in the text (all, some staining, a few tears affecting the engraved area, a few plates repaired, 1 mounted, slight loss of picture to 1 engraving, 1 trimmed; slight worming to lower margin on a few leaves). Worn contemporary calf, spines and endpapers renewed (about 1900), cracks in inner hinge. Vol II lacks pp 157-180 as usual. 33 X 21 cm. Exlibris (Fredrick J. O. Montagu and Thomas Parker). First edition.

Kiøbenhaffn, Melchior Marzan, 1632. 4to. (6) + 185 + (11) s. Tittelblad trykt i rødt og sort med røskenramme. Elegant håndbundet helskinnbind med rik gulldekor på rygg og permer. Indre denteller i gull (Jakob Baden). Bindet svakt oppskrapet ellers et prakteksemplar trykt på tynt skrivepapir og med særdeles gode marger.. .

London, Printed for the Author, by T. Bensley; 1798. 4to. (98) pp. 50 hand-coloured plates. Finely bound by Axel Knudsen in modern red full morocco. Spine gilt in compartments. Covers gilt and decorated with a butterfly in every corner. Uncut. In slipcase. Occasional light spotting. First edition of this early work on Chinese insects. Beautiful illustrations, heigtened with gum arabic.. . 

C.A. Reitzels Forlag, København 1833. (6)+VI+360 sider. Smukt samtidigt svensk (rygtitel: Samlede Dikter) helbind af brunmarmoreret kalveskind med rig dekoration i forgyldning og blindpræg, herunder en guldtrykt lyre på på forpermen, samt tresidet guldsnit. For- og bagsats diskret fornyet. Let plettet. * Med dedikation i form af 4-linjet vers, signeret H.C. Andersen: "Lad disse Digte flyve dig forbi/Ser du i dem et luftigt Sky-Parti/Og ganske smukt - Husk at den lille Sky/er tit Produktet af en nedbrændt By". Andersen var 28 år og led af Weltschmerz og kærlighedskvaler. ** BFN 224. Herligt eksemplar af denne samling, der indeholder både nye og tidligere udgivne Andersen-digte.

3 bind i 1. Stockholm & Paris 1661-1715. Tværfolio (32 x 40 cm). Kobberstukket fællestitelblad, 3 kobberstukne portrætter, 2 kobberstukne generalkort over Østersøområdet, 2 deltitelblade (Pars II & 3) samt 345 plancher, heraf mange foldede; i alt 353 kobberstukne plancher. Trykt register over plancherne indsat bagest i bogen. Senere helbind af poleret brunt skind. Enkelte tavler med pletter. 3 plancher med diskret reparation i nederste margin. * Godt eksemplar af Erik Dahlberghs storværk om Sverige, som det så ud (eller som Dahlberg, som den dygtige og detaljebevidste tegner han var, gerne ville have det til at se ud) på højden af stormagtstiden omkring år 1700. De fremragende hollandsk- og franskproducerede gengivelser af Dahlberghs livlige tegninger viser bygninger og byprospekter fra det svenske kerneland med Stockholm som det prangende centrum. Stormagtstidens nybyggerier dominerer, samtidig med at intentionen om at give de robuste svenske renæssanceborge et internationalt schwung lyser ud af plancherne. Værket skulle også omfatte Finland og de erobrede østdanske provinser, men materialet herfra er sparsomt, med vægt på den nyanlagte orlogshavn Karlskrona i Blekinge. Her var noget at vise frem. **Værket , der blev sat i gang i 1661, fik en lang udgivelseshistorie og var, da de sidste dele gik i trykken i 1715, stadig kun en - omend stor og flot - torso, stort set uden tekst. På det tidspunkt var Carl XII ved at have sat både stormagtsstatus og økonomisk formåen over styr, og efter Store Nordiske Krig orkede ingen at tage arbejdet op. Dahlbergh selv var død i 1703.

N. Cohens Bogtrykkeri, 1885-1887. Två volymer, (2), 473, blank, VII ( Fremmede ord + rettelser) + (4), 363, blank. Båda volymerna i samtida Klotband. Both volumes in Contemporary cloth. (Socialistisk bibliotek IV-V) Första danska utgåvan av "Das Kapital" översatt från den tyska utgåvan som publicerades i Hamburg 1883 och 1885. Tryckåret är 1886 på smutstitelsidan i serien Socialistisk bibliotek vol. 4 och 5 som gavs ut av Socialdemokratiska partiet i danmark, men 1885 på titelsidan för själva Kapitalen. (Allt som utkom i den första danska utgåvan). First Danish edition of "Das Kapital", translated from the German edition published in Hamburg 1883 and 1885. Printing year 1886 on Half title in the Issued volumes 4 and 5 of the "Socialistisk Bibliotek" published by the Danish Social-Democratic Workers' Party in 1886-87, but 1885 on the title page of Kaptalen. (All that was published in the first Danish edition).

Paris, Arthus Bertrand, 1852. Folio (530 x 350 mm). (4) + Ekstra illustrert tittelblad+ 4 s. (Table explicate des planches). 154 plansjer (Danmark: Pl. 1-27, Færøerne: Pl.28-56, Hamburg: Pl. 37-39, Norge: (Nordlands- og Finmarkkysten Pl. 40-103, Svalbard: Pl. 128-154).Tilsammen 154 plansjer. Samtidig skinnbind. Ryggdekor i gull. Bindet litt oppskrapet. Hjørner støtt. Litt brunplettet. En del av plansjene brunet på grunn av papirkavaliteten.. . Contemporary half calf. Gilt spine. Binding a little rubbed. Occasional light foxing. Some of the plates browed due to paper quality. Additional illustrated title-page, 154 plates (Denmark 27 plates, The Feroe Islands 9 plates, Hamburg 3 plates, Norway 88 plates, Spitzbergen 27 plates. Schiötz 353 **.

Stockholm 1821, 1822, 1823. Tverr-folio. 49 x 60,5 cm (unntatt Pl.XX: 26,8 x 35 cm og Pl. XXI: 30 x 48,5 cm).Tilstand: Del I. Plansjene med små rifter og bretter i ytre kant (berører ikke billedflaten). Del II. Alle plansjene med fuktskjold i et hjørne (berører noe av billedflaten). Omslagene med rifter og bretter. Tekstbind på fransk: Stockholm, Charles Deleen, 1821, 1822 og 1823. Folio. 38 x 25 cm. Première partie. (2) + 23 + (1 blank) s. Beskrivelse av plansje I-VIII. Deuxième partie. (2) + 21 + (1 blank) s. Beskrivelse av plansje IX-XVI. Troisième partie. (2) + 18 s. Beskrivelse av plansje XVII-XXIV. Originalt kartonasjebind. Ryggen slitt. Stempel på tittelblad. Litt brunplettet. Schiötz 193**. . Del I. Plansje I-VIII. Tittelvignett : Hallingskarven. Vue du Strand Vand. I. Christiania. Vue du pied d`Egeberg. II. Ringerige. III. Stensfjorden. Vu(e) du pied Krogkleven. IV. Krogskoven. Vu(e) de Ringerige. V. Randsfjorden. Vue de Smedshammer en Hadeland. VI. Walders. Vue près de Böe en Nordre Ourdal. Del II. Plansje IX-XVI. Tittelvignett: Stenskred près de Skougstad à Walders. IX. Walders. Vue près de l`église d`Ullnäs. X. Mugnafjell. Vue de la cime d`Olberg à Walders. XI. Vue d` Helestrand. XII. Hugakollen. Près d`Öjloe à Walders. XIII. Vue de Quamskleven. Et les montagnes à l`ouëst de lac Lilla Mjösen à Walders. XIV. Skudshorn. Vue près de Wang en Walders. XV. Vue de Nystuen. XVI. Suletind. Del. III. Plansje XVII-XXIV. Tittelvignett: Descente d`un précipice de la montagne de Goustad. XVII. Vues des montagnes de Övre Tellemarken prise de la metaire de Bolkesjö. VIII. Pont dans la vallée de Kohldalen au pied de la montagne de Gousta en Övre-Tellemarken. XIX. Vue de la chute d`eau de Hougfoss près l`église de Mæl en Vestfjorddal. XX. Vue de sæter de Fyriegg sur la montagne de Gousta. XXI. Vue des environs de la cataracte de Riukand-foss en Vestfjorddal dans le Övre-Tellemarken. XXII. Vue de la montagne de Gousta prise de la vallée de Vestfjorddal près de l`église de Dale. XXIII. Vue de la vallée de Vestfjorddal et de la montagne de Gousta prise à un demi mille de la cataracte de Riukandfoss. XXIV. Vue de la cataracte de Riukandfoss en Övre-Tellemarken prise à l`entrèe du passage de Maristigen.

St. Petersburg, J. J. Weitbrecht, 1774-88. Folio (498 x 305 mm). Additional hand-coloured lithographed title-page with dedication to Catherine II. 101 beutifully hand-coloured engraved plates by Karl Friedrich Knappe, numbered I-C with additional plate VIII B. The nomenclature of the plants in Latin and Russian. Original blue patterned paper boards. Red morocco lettering-pieces. Uncut. Joints and spines somewhat worn. First edition of the first great illustrated Russian flora. Complete with 101 engraved hand-coloured plates. Provenance: From the library of the Jussieu family and the library of Henry Rogers Broughton 2nd Baron Fairhaven.. .

2 x 3 hæfter i ét bind. C.A. Reitzel, København. Lille 8vo. Titelblad til Første Bind, Andet Oplag]+ fælles indholdsfortegnelse til bind 1 + 2 sider med fortale]+ smudstitelblad og titelblad [Første Hefte, Andet Oplag, 1842]+61 sider +(1 blank)+1 side indholdsfortegnelse+(1 blank) + smudstitelblad + titelblad [Andet Hefte, Andet Oplag, 1844]+ [5-]76 sider +1 side indholdsfortegnelse + [3 blanke sider] + smudstitelblad + titelblad [Første Binds tredie Hefte, Andet Oplag, 1846] + [5-]60 sider + 1 side indholdsfortegnelse + [3 blanke sider] + smudstitelblad + fælles titelblad til andet bind [Andet Hefte, 1847]+ dedikationsblad til Johanne Louise Heiberg+ indholdsfortegnelse + smudstitelblad + titelblad [Ny Samling, Første Hefte, Andet Oplag, 1846 +[5-]58 sider + 1 side indholdsfortegnelse +smudstitelblad + titelblad [Ny Samling, Andet Hefte, 1847 [= andet oplag, selv om det ikke er angivet] + 53 sider + [1 blank] + indholdsfortegnelse + [1 blank] + smudstitelblad + Titelblad [Ny Samling, Tredie Hefte, 1847 [=andet oplag]]+49 sider + (1) blank [mangler den sidste side med indholdsfortegnelsen til bind 2, 3. hefte. Indbundet ubeskåret i det originale bogtrykte fælles kartonbind med undertitlen '2 Bind, Andet Oplag'. Ryg og bagperm restaureret, med resterne af den oprindelige, bogtrykte rygstribe påklæbet [igen med '2 bind']. Et navn overstreget på forpermen, der også er lidt nusset. Indvendig et pænt, rent eksemplar. * BFN 266-270, 276-279, 303-305, 325-328, 352-355, 408-411. Printing and the Mind of Man 299. ** Et hovedværk i verdenslitteraturen. Andersen nærede til at begynde med ikke de store ambitioner til denne del af sin forfattervirksomhed, men var langt mere optaget af sin succes som romanforfatter med "Improvisatoren", ligeledes fra 1835. Hans mentor, fysikeren H.C. Ørsted, så dog rigtigt, da han sagde til Andersen: "Improvisatoren vil gøre Dem berømt, men eventyrene vil gøre Dem udødelig".*** Da H.C. Andersen kom til forlægger C.A. Reitzel med ideen om at skrive eventyr i børnehøjde, blev han mødt med en god portion skepsis, da denne tanke var ny. Reitzel gik dog med til at udgive første binds første hefte i et beskedent oplag på 200 eksemplarer i 1835. Det blev ingen øjeblikkelig succes, men i løbet af den årrække, hvor hefterne udkom [i alt 6 hefter fra 1835-42] begyndte interessen for dem at stige. Derfor gik læserne tilbage for at købe tidligere hefter, og Reitzel måtte imod al forventning begynde at trykke nye oplag af dem. Første binds første hefte udkom i tre oplag [1835, 1842 og 1845], mens de fem resterende hefter kom i to oplag. Da cyklussen var forbi, havde Reitzel nogle forskellige restoplag tilbage af de forskellige hefter, og bundtede dem i 1842 i to bind á 3 hefter (med første hefte i andet oplag). Dette skete igen i 1846, stadig i to bind (som regel med hefte 1-4 i andet oplag). Dette er årsagen til, at langt de fleste bind med alle seks eventyrhefter har hefterne i forskellige oplag, da de er blevet blandet undervejs. Man regner med, at der er under ti eksisterende sæt med alle seks hefter i første oplag - heraf et par stykker i privateje. I 1847 - hvorfra vores sæt stammer - er alle seks hefter i andet oplag, men blev udgivet samlet i et bogtrykt kartonbind, som vi ikke har kunnet finde nogle reference til nogen steder - det er sandsynligvis gået tabt for eftertiden, udover på dette herlige eksemplar. **** Copies of 'Eventyr fortalte for Børn' are almost always made up from different issues -There seems to be less than ten copies consisting of six first issues, and only one or two copies in private ownership. Andersen collectors have always accepted, that second issues are quite acceptable, as they were the ones offered usually for sale. In this copy, all the six booklets are in second issue, as they should be in order to have stayed at Reitzels shelves long enough to be part of the clean out sale with new printed boards in 1847.***. When Andersen in 1835 came to his publisher Reitzel with the farfetched idea of printing fairy tales for children, the publisher wasn't keen on the idea. As Andersen needed money badly and his first novel 'Improvisatoren' had been selling fairly well, Reitzel reluctantly agreed to print the first booklet in 200 copies. They were printed on cheap paper and cost very little - they were only meant for a cheap pastime for children. No immediate success, Andersen nevertheless made two more booklets, so the three of them made a complete unit in 1837. The sales must have picked up a bit, as Andersen was allowed to make three more booklets from 1838-1842. By that time, the first part of the first batch had run out (after 7 years!), so Reitzel printed some more (how many is unknown) in 1842, and of the second part of the first batch was reprinted in 1843. From December 1843 Andersen released his next collection of Fairy tales ['Nye Eventyr', published in a larger and nicer format than the first six 'Eventyr fortalte for Børn] and his renown as a writer of children's books grew. Reitzel reprinted more of the first fairytales, and finally cleared out the last batch of the old stock of 'Eventyr fortalte for Børn' in 1847 - and this is one of those copies. How few there were left is unknown, but as the print runs have always been small, there might be as little as 20-30 copies issued with these printed cardboard wrappers - of which only this one survives.

Kjøbenhavn, P.G. Philipsens Forlag, 1841. 8vo. (8), 350 pp. Gift binding of elaborately blindpatterned full cloth with single gilt lines to spine. All edges gilt and printed on thick vellum paper. A splendid copy in completely unrestored state with minimal edge wear. Slight sunning to upper 1 cm of front board and slight bumping to corners and capitals. Leaves completely fresh and clean. Pencil-annotation from the Kierkegaard archive of the Royal Library (nr. 83) and discreet stamp from the Royal Library of Copenhagen to inside of front board (with a deaccession-inscription) and to verso of title-page. With ownership signatures of P.S. Lund and Troels Lund to title-page. Inside of back board with previous owner’s pencil-annotations listing the entire provenance of the copy and explaining that this is one of two copies printed on thick vellum paper. Laid in is the original agreement for the exchange of real property between the previous owner and the Royal Library of Denmark, from which is evident that in 2003, The Royal Library and the previous owner legally agreed to exchange their respective copies of Om Begrebet Ironie – the present one for Ørsted, being one of two copies on thick vellum paper, and the copy on normal paper for Heiberg, which is now in the holdings of the Royal Library of Denmark. Arguably the best possible copy one can ever hope to acquire of Kierkegaard’s dissertation – one of two copies on thick vellum paper, being a presentation-copy from Kierkegaard to the discoverer of electromagnetism H.C. Ørsted. Inscribed to verso of front fly-leaf: “Til / Hans Magnificens / Universitetets Rector / Hr. Conferentsraad Ørsted. / C og D.M.” (For / His Magnificence / Principle of the University / Mr. [a high Danish title, now obsolete] Ørsted. / C (ommandør) (i.e. Commander) and DM (short for Dannebrogsmand, another honourable title) ). The copy is with the Thesis, and both the day and the time has been filled in by hand. As mentioned in the introduction to the Irony, Kierkegaard had two copies made on thick vellum paper –one for himself (which is in the Royal Library of Denmark), and one for H. C. Ørsted, a towering figure of the Danish Golden Age, one of the most important scientists that Denmark has produced, then principle of the University of Copenhagen. This copy is unique among the 11 registered presentation-copies of Kierkegaard’s dissertation and is without doubt the most desirable. It is approximately twice as thick as the other copies and stand out completely. THIS IS KIERKEGAARD’S dissertation, which constitutes the culmination of three years’ intensive studies of Socrates and “the true point of departure for Kierkegaard’s authorship” (Brandes). The work is of the utmost importance in Kierkegaard’s production, not only as his first academic treatise, but also because he here introduces several themes that will be addressed in his later works. Among these we find the question of defining the subject of cognition and self-knowledge of the subject. The maxim of “know thyself” will be a constant throughout his oeuvre, as is the theory of knowledge acquisition that he deals with here. The dissertation is also noteworthy in referencing many of Hegel’s theses in a not negative context, something that Kierkegaard himself would later note with disappointment and characterize as an early, uncritical use of Hegel. Another noteworthy feature is the fact that the thesis is written in Danish, which was unheard of at the time. Kierkegaard felt that Danish was a more suitable language for the thesis and hadto petition the King to be granted permission to submit it in Danish rather than Latin. This in itself poses as certain irony, as the young Kierkegaard was known to express himself poorly and very long-winded in written Danish. One of Kierkegaard’s only true friends, his school friend H.P. Holst recounts (in 1869) how the two had a special school friendship and working relationship, in which Kierkegaard wrote Latin compositions for Holst, while Holst wrote Danish compositions for Kierkegaard, who “expressed himself in a hopelessly Latin Danish crawling with participial phrases and extraordinarily complicatedsentences” (Garff, p. 139). When Kierkegaard, in 1838, was ready to publish his famous piece on Hans Christian Andersen (see nr. 1 & 2 above), which was to appear in Heiberg’s journal Perseus, Heiberg had agreed to publish the piece, although he had some severe critical comments about the way and the form in which it was written – if it were to appear in Perseus, Heiberg demanded, at the very least, the young Kierkegaard would have to submit it in a reasonably readable Danish. “Kierkegaard therefore turned to his old schoolmate H. P. Holst and asked him to do something with the language…” (Garff, p. 139). From their school days, Holst was well aware of the problem with Kierkegaard’s Danish, and he recounts that over the summer, he actually “translated” Kierkegaard’s article on Andersen into proper Danish. The oral defense was conducted in Latin, however. The judges all agreed that the work submitted was both intelligent and noteworthy. But they were concerned about its style, which was found to be both tasteless, long-winded, and idiosyncratic. We already here witness Kierkegaard’s idiosyncratic approach to content and style that is so characteristic for all of his greatest works. Both stylistically and thematically, Kierkegaard’s and especially a clear precursor for his magnum opus Either-Or that is to be his next publication. The year 1841 is a momentous one in Kierkegaard’s life. It is the year that he completes his dissertation and commences his sojourn in Berlin, but it is also the defining year in his personal life, namely the year that he breaks off his engagement with Regine Olsen. And finally, it is the year that he begins writing Either-Or. In many ways, Either-Or is born directly out of The Concept of Irony and is the work that brings the theory of Irony to life. Part One of the dissertation concentrates on Socrates as interpreted by Xenophon, Plato, and Aristophanes, with a word on Hegel and Hegelian categories. Part Two is a more synoptic discussion of the concept of irony in Kierkegaard’s categories, with examples from other philosophers. The work constitutes Kierkegaard’s attempt at understanding the role of irony in disrupting society, and with Socrates understood through Kierkegaard, we witness a whole new way of interpreting the world before us. Wisdom is not necessarily fixed, and we ought to use Socratic ignorance to approach the world without the inherited bias of our cultures. With irony, we will be able to embrace the not knowing. We need to question the world knowing we may not find an answer. The moment we stop questioning and just accept the easy answers, we succumb to ignorance. We must use irony to laugh at ourselves in order to improve ourselves and to laugh at society in order to improve the world. The work was submitted to the Philosophical Faculty at the University of Copenhagen on June 3rd 1841. Kierkegaard had asked for his dissertation to be ready from the printer’s in ample time for him to defend it before the new semester commenced. This presumably because he had already planned his sojourn to Berlin to hear the master philosopher Schelling. On September 16th, the book was issued, and on September 29th, the defense would take place. The entire defense, including a two hour long lunch break, took seven hours, during which ”an unusually full auditorium” would listen to the official opponents F.C. Sibbern and P.O. Brøndsted as well as the seven “ex auditorio” opponents F.C. Petersen, J.L. Heiberg, P.C. Kierkegaard, Fr. Beck, F.P.J. Dahl, H .J.Thue og C.F. Christens, not to mention Kierkegaard himself. Two weeks later, on October 12th, Kierkegaard broke off his engagement with Regine Olsen (for the implications of this event, see the section about Regine in vol. II). The work appeared in two states – one with the four pages of “Theses”, for academics of the university, whereas the copies without the theses were intended for ordinary sale. These sales copies also do not have “Udgivet for Magistergraden” and “theologisk Candidat” on the title-page. The first page of the theses always contains the day “XXIX” of September written in hand, and sometimes the time “hora X” is also written in hand, but not always. In all, 11 presentation-copies of the dissertation are known, and of these only one is signed (that for Holst), all the others merely state the title and name of the recipient. As is evident from the auction catalogue of his collection, Kierkegaard had a number of copies of his dissertation in his possession when he died. Five of them were bound, and two of them were “nit. M. Guldsnit” (i.e. daintily bound and with gilt edges). These two copies were obviously meant as presentation-copies that he then never gave away. The gift copies of the dissertation were given two types of bindings, both brownish cloth, one type patterned, the other one plain, and some of them have gilt edges, but most of the plain ones do not. There exist two copies on thick vellum paper – one being Kierkegaard’s own copy, the other being the copy for H.C. Ørsted, discoverer of electromagnetism and then principle of the University of Copenhagen. “As already implied, two works of the authorship stand out in the sense that Kierkegaard sent his presentation-copies to a special circle of people: The dissertation from 1841...” (Posselt, Textspejle, p. 91, translated from Danish). Most of the copies were given to former teachers and especially to people who, due to leading positions, personified the university. “For this circle of initiated we can now, due to registered copies, confirm that Kierkegaard gave copies with handwritten dedications to the headmaster of the University H.C. Ørsted (printed on thick paper), Kolderup-Rosenvinge and to J.L. Heiberg. It is granted that Sibbern, Madvig and F.C. Petersen were also given the dissertation as a gift,... but these copies are not known (yet).” (Posselt, Textspejle, pp. 93-94, translated fromDanish). (N.b. We have since handled the copy given to Petersen and can thus confirm that it exists). The presentation-inscriptions in the 11 registered copies of the Irony all follow a certain, strict pattern. “The wording could not be briefer. In the donation of his academic treatise, the otherwise prolific Kierkegaard sticks to name, titles, and the modes of address that goes with the titles.” (Tekstspejle p. 96, translated from Danish). When presenting his later books, he always signs himself “from the author”, sometimes abbreviated (i.e. “Forf.” In stead of “Forfatteren”), unless he is mentioned by name on the title-page as the publisher, not the author, as is the case with some of the pseudonymous works. In that case he signs his inscriptions “From the publisher”, always accompanied by “in deep reverence”, “with reverence”, “with friendship” or the like, adapted to the rank of the recipient and his place on Kierkegaard’s personal scale. An academic treatise, however, published before the oral defense took place – in the mind of Kierkegaard – required certain demands in relation to the donation of it. Thus, the brevity and rigidity in the following inscriptions. With the exception of Kierkegaard Hans Christian Ørsted (1777-1851) is arguably the most famous and influential Dane ever to have lived, universally known for his discovery of Electro-magnetism in 1820, which led to new theories and discoveries that constituted the foundation of all later electro-technology. After this milestone of scientific discovery, Ørsted went on to write a number of important philosophical works on natural philosophy and empiricism, of which The Spirit in Nature is the most famous and the work he himself considered his main work. Both H.C. Andersen and Søren Kierkegaard admit to having been influenced by the writings of Ørsted. “He was an enthusiastic follower of the “Naturphilosophie” school in Germany, whose main object was the unification of physical forces, thus producing a monistic theory of the universe. It was to further this purpose that Oersted sought in actual phenomena the electro-magnetic identity of which he had already convinced himself on metaphysical grounds” (Percy H. Muir in Printing and The Mind of Man). “The natural scientist Hans Christian Ørsted was one of the most significant and influential personalities of his age and together with the sculptor Bertel Thorvaldsen, the poet Hans Christian Andersen, and the thinker Søren Kierkegaard, constituted the small handful of figures from “The Danish Golden Age” who achieved international and even world fame.” (Troelsen in Kierkegaard and his Danish Contemporaries I: p. (215) ). In intellectual circles in Denmark at the time of Kierkegaard, Ørsted was inevitable. He influenced not only natural sciences profoundly, but also philosophy, literature, and Danish languages (coining more than 2.000 neologisms). He was furthermore rector of the university of Copenhagen, when Kierkegaard in 1841 submitted his master’s thesis On the Concept of Irony. Being the rector, Ørsted was the one who needed to pass the treatise, but having read it, he was simply not sure whether to do so or not and needed to consult other experts, before making his decision. He ended up allowing it to pass, but not without having first famously said about it (in a letter to Sibbern) that it “makes a generally unpleasant impression on me, particularly because of two things both of which I detest: verbosity and affectation.” (Kirmmmse (edt.): Encounters with Kierkegaard, p. 32). Kierkegaard makes several references to Ørsted’s Spirit in Nature and mentions him several times in his journals and notebooks. Although being of different generations and not particularly close on a personal level, the two intellectual giants would naturally be unavoidably connected in one way or the other. Ørsted was simply so centrally placed and so influential that there was no way around him for someone like Kierkegaard. Himmelstrup 8 The present copy is no. 9 in Girsel's "Kierkegaard" (The Catalogue) which can be found here.

Kjøbenhavn, Reitzel, 1843. Small 8vo. 157 pp. Splendidly bound in beautiful patterned pink moiré-paper covered with red and green floriated gilt branches. Rebacked in nearly matching paper. Blue silk end-papers. All edges gilt. Printed on thick vellum-paper. A splendid copy with light edgewear and absolutely minimal brownspotting. Contemporary inscription to front fly-leaf stating that this is Kierkegaard’s own copy and that it was bought at the auction after him, April 1856 (presumably in the hand of Herman H.J. Lynge). Housed in a beautiful marbled paper box with red Morocco spine. Spine with gilt lines and gilt gothic lettering stating title, the pseudonymous author name and that this is Kierkegaard’s own copy printed on heavy vellum-paper. Kierkegaard’s own copy of Repetition, one of the two copies he had printed on special paper and specially bound, one for Regine, one for himself, with a correction in Kierkegaard’s hand. This is as close as one comes to the love story of Regine and Kierkegaard – this is Kierkegaard’s own copy that he kept himself, from the love-set of the two copies of Repetition 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 with gilding and flowers. 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 three sold at auction in 2002), and Kierkegaard’s own copy of Either-Or (which is 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. 2125 from the auction catalogue, which Herman H.L. Lynge bought at the auction. The correction is to be found on p. 80, where “legede” (played) has been changed to “levede” (lived). See Pap. IV B99. REPETITION – not only the title of one of his most significant books, but also a key concept in the philosophy of Kierkegaard – was written during the same brief spell of feverish activity that also produced Fear and Trembling; the two books were even published on the same day. ”Say what you will, this question will play a very important role in modern philosophy, for repetition is a crucial expression for what “recollection” was to the Greeks. Just as they taught that all knowing is a recollecting, modern philosophy will teach that all life is a repetition.” (Repetition, p. 3 – translation by Hong), Kierkegaard states in the beginning of his treatise, anticipating the importance that his concept of Repetition is to have for modern philosophy. Written in the narrative form of an experimental novel centered on two stories that are internally linked, Kierkegaard lets us understand what Repetition could be and what it is in his philosophy. The first story portrays Repetition as something empty and trivial, whereas the second portrays it as an ethical category that is inextricably linked to religion. Repetition is that which makes it possible for man to become and to remain present in the present. Kierkegaard’s explanation of his key concept of Repetition is exhausted in the present work, but it also plays a significant rôle throughout his later works and is considered one of the key concepts in his philosophy. The work is centered around the story of a young man, who has fallen in love with an innocent young girl to whom he has become engaged. But, finding himself unable to consummate the love because of poetic stirrings inside himself, he tries to understand what is going on inside him and whether or not he should break off the engagement. The elderly Constantin Constantius, one of Kierkegaard’s numerous pseudonyms, interferes with the emotions of our young man and begins to conduct speculative experiments with him that are meant to investigate whether a repetition (of the relationship with the girl, of the young man’s feelings, etc.) might be possible. At the end of the first part, the young man flees Copenhagen and leaves the girl, presumably at her wits’ end. Later, she marries someone else, and the young man transforms into the true poet that he could only be when unattached to the girl he loved. It does not take much of an imagination to link this story to the Kierkegaard’s own wildly famous love story and failed engagement to Regine Olsen. 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, like Repetition, can be read as an almost autobiographical rendering of his failed engagement. Repetition, more than any other work, lets us see how Kierkegaard came to be as an author through his tumultuous inner life during his engagement and the ending of it. 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.). Here we have it – the closest we get to this pivotal love affair from which grew one of the most important philosophical-religious authorships in the Western world. In all, Kierkegaard wrote eight pseudonymous books, Repetition 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. 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. The four known copies are all bound in very particular, beautiful, patterned bindings with flowers and gold, in either pink or white. Like Fear and Trembling, there are no presentation-copies known to exist of Repetition. Himmelstrup 53 The present copy is no. 19 in Girsel's "Kierkegaard" (The Catalogue) which can be found here.

Kjøbenhavn, Reitzel, 1845. Large 8vo. (8), 383 pp. An extraordinary copy printed on very heavy vellum-paper and bound in the mid-20th century in an elegant black half Morocco binding with single gilt lines to boards; double gilt lines and Gothic gilt lettering to spine (bound by Agnete With). Top edge gilt. A bit of brownspotting throughout. With the bookplate of Henning Kehler to inside of front board and with neat pencil annotations to back free end-paper describing the history of the copy. With a handwritten correction on p. 47. Kierkegaard's own copy of the pivotal sequel to his main work Either-Or, one of two copies printed on special paper, with Kierkegaard's own handwritten correction on p. 47. In Either-Or, Kierkegaard had presented the first two stages, the aesthetic and the ethical. In Stages on Life's Way, he continues his work on these stages and moves on to present also the religious stage, which occupies approximately two thirds of the work. The religious stage is that in which man attains a personal relationship with God and that in which man only truly begins to exist, the aesthetic and ethical stages being inadequate. It is in this foundational work, in the religious stage, that Kierkegaard first properly describes what is now known as the "Leap of Faith" (in fact a "leap to faith"), namely the leap that involves willing and belief instead of reason and knowledge, the leap that you take in order to connect to God and which requires that which Kierkegaard calls "the suspension of the ethical". Undoubtedly among Kierkegaard's most brilliant literary achievements, Stages on Life's Way is written in the form of different viewpoints of Kierkegaard's many pseudonymous characters. We have both Hilarius Bookbinder, who by chance has come into possession of the documents presented in the work and has prepared them for printing. We have the famous banquet scene, which mirrors Plato's Symposium, described by William Afham, and in which the three aesthetics participate: Johannes the Seducer, Victor Eremita, and Constatin Constantius. We have Judge William's discourse in praise of marriage, and we have the diary, discovered by Frater Taciturnus, of a young man, who was deeply in love but felt compelled to break off his engagement. This story in form of a diary is the closest one comes to a description of Kierkegaard's own love story, his relationship to Regine. The diary describes an engagement that has lasted for six months; it alternates between the morning notes that recall the engagement and the midnight notes that put it all in perspective. The work closes with a letter to the reader from Taciturnus on the three "existence-spheres" represented by the three parts of the book. Stages on Life's Way is one of Kierkegaard's most important works. Not only does it sum up and explain some of the most important themes of Kierkegaard's previous works, utilizing the characters and pseudonymous authors of the earlier works to do so; it goes beyond these foundational themes, introduces the religious stage, and points to the further development of the central themes in Kierkegaard's philosophy, most of which are only fully developed in Concluding Unscientific Postscript. Written under a pseudonym and without Kierkegaard's name appearing as publisher or indeed anything else, he was unable to give away presentation-copies of the work (due to his own rigid set of rules for his presentation-copies). 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. In Rohde's edition of the auction-record, this copy and its recent faith is thoroughly described. Like Repetition, Prefaces, and his other seven pseudonymous works, Stages on Life's Way was printed in two copies each 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, Repetition, 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, Stages on Life's Way 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. This splendid copy, which is one of two specially produced copies, being Kierkegaard's own copy, with his own correction (deleting "ikke" – i.e. "not" on p. 47), is nr. 2136 in the auction catalogue of Kierkegaard's books sold after his death. In Rohde's official edition of the auction catalogue, there is a lengthy note on the present copy documenting the more recent history of the copy:"Now: Mogens Müllertz, Copenhagen. Copy on vellum-paper. S.K.,'s own handwritten correction of the printing error "not" on p. 47, cf Papers XI I, p. 36. The previous owner, the author Henning Kehler, has let the book, which was originally in half calf, rebind in black half calf by Agnete With and has pasted his book plate on the inside of the front board. In 1952, Henning Kehler gave the book as a Christmas present to Mogens Müllertz; in an accompanying letter Kehler writes, among other things: "even though the present book is my best and dearest, I still want you to have it. I know of no-one else to whom I would rather dispense with it." In an article "About printing errors", Berlingske Aftenavis 9.11.1963, Kehler touches upon this book gift: "Being a writer I am naturally hardened when it comes to printing errors, no book and no newspaper article is without errors. Søren Kierkegaard, who could even pay others – eg. Israel Levin – to proofread mentions in his Papers a printing error in "Stages on Life's Way", which kept vexing him. It was a "not" that had fallen out. I once owned a copy of the book that had been placed in the palisander book cabinet for Regine, and in that copy, this "not" had been added in ink and in Kierkegaard's handwriting. I gave the book to a book-mad collector – under false pretenses, alas." – Identification of the copy uncertain." (pp. 110-11).Although Kehler is mistaken in the correction being adding a "not" instead of deleting one, there is no doubt that this is the copy he is referring to. The sentence on p. 47, in which the correction occurs reads "Pro dii immortals what is a woman, when she is not in fashion, per deo obsecro what is she when she is not (this being the "not" that Kierkegaard has deleted here and was vexed about) in fashion".This copy on very heavy paper – one of the two printed like this – is approximately 1/3 thicker than normal copies of the book.The pencil annotations on the back free end-paper bear witness to the previous owner's frustration at Kehler for having tampered with the copy. After stating that this is Kierkegaard's personal copy, one of two on vellum-paper and copy nr. 2136 from the auction catalogue, he continues: "The copy used to have all edges gilt, a few leaves still have remains of this. The edge has been shaved at the ruthless rebinding that Henning Kehler in his complete lack of understanding of what he possessed had done." On Kehler's bookplate, the same previous owner has noted in neat pencil-annotation "bibliophile vandal".In spite of the frustration with this particular book having been rebound and not kept exactly as it was, this is still an utterly amazing copy of one of Kierkegaard's most important works – hands down the best copy there is of the work. Namely Kierkegaard's own, with his own correction, one of two printed on heavy paper, one for Regine, one for himself. We must be thankful that, despite the "vandalism" of the rebinding, the book is still here and identified as that same copy that Kierkegaard had made for himself. Himmelstrup 78.