Antikvariat

TRUSLEW, N. (& ECKERSBERG).

En Samling af Skibe i næsten alle mulige Stillinger i Söen. Udført i Kobber [i.e. A Collection of Ships in almost every Possible Position in the Sea. Executed in Copper]. - [THE CREATION OF THE DANISH SEASCAPE PAINTING]

Herman H. J. Lynge & Søn A/S
lyn60286
Kjöbenhavn, 1805 (-ca. 1807). Queer-folio (binding measuring 25,2 x 32 cm). Bound in a later (ca. 1920'ies), elegant brown full calf binding with gilt ornamentations to spine. Boards with gilt line-frames, gilt rosettes as those on spine and larger gilt corner-decorations. All edges of boards gilt and inner gilt dentelles. Front board with gilt title in the middle. Neatly rebacked. Minor wear to back board and a few smaller stains to front board and spine. Overall very nice. Bound with one of the very scarce printed title-labels. This is for the third issue, dated 1805 (the collection was issued in six issues, all dated between 1805 and 1806. They appeared in blue wrappers with printed title-labels, of which the last number in the year and the number of the issue were left blank to be added in hand, as they are here. Only a few examples of these title-labels have been preserved). All 36 engraved and hand-coloured plates (all measuring 16 x 21 cm) mounted on leaves of thick cardboard-like paper (measuring 24,5 x 31 cm). All images with original handwritten description in Danish underneath. Occasional brownspotting, but overall in very nice condition.

Exceedingly scarce collection of all 36 plates that were issued of Truslew’s spectacular “Ships in the Sea”, this being one of three complete copies known. Only two complete copies exist in public institutions (Handels- og Søfartsmuseet at Kronborg and the Danish Royal Collection of Graphic Art), and this is the only known complete copy on private hands. The 36 highly interesting plates that constitute this rare work occupy a central role in the history of Danish art, culture, and in the history of wartime. It is with this work that the tradition of Danish marine art is founded and it is inextricably linked with the name of one of the greatest Danish artists of all time: C.W. Eckersberg (known as “the father of Danish seascape painting”). It is generally accepted that Eckersberg with all likelihood drew the illustrations for Truslews etchings. “Ahead of his major travel to Paris and Rome in 1810-16, he (i.e. Eckersberg) had executed a number of ship portraits that were issued by N. Truslew in 1805 under the title “En samling skibe i næsten alle mulige stillinger i søen 1-6 Hæfte”. It is (a collection of) 36 coloured aquatints that could be engraved after the drawings of Eckersberg”. (Own translation from Danish, from “Den Danske udvikling of marinemaleriet. C.W. Eckersbergs arbejder af maritime karakter”, pp. 10-11). Not much is known about the amateur artist Niels Truslew, who was born in 1762 and was employed for decades in the office of the commercial house of the merchant Niels Ryberg. We know for certain, however, that Eckersberg and Truslew knew each other, and we know that for a while they worked together. It has also been proved beyond doubt that one of Eckersberg’s early watercolours from 1804 is the model for plate nr. V in the present collection. “[T]he role of the young Eckersberg, who became his generation’s most prominent painter, in the creation of the engravings is of considerably (sic) interest. Though it is true that it is not known with certainty just how much Eckersberg was involved, the series is evidence of a Danish background for the famous seascapes which Eckersberg first began to paint in the 1820‘s. In the period after he had done his early watercolour, he had been in Paris as a student of David, and it has been thought that the source of inspiration for Danish sea painting should therefore be found in the south. Truslew’s engravings show, however, that there was a native background for Eckersberg’s seascapes which, at the same time, of course, must be seen in the context of a larger European tradition.” (Møller, Lorentzen & Møller: Niels Truslew – Skibe I Søen 1805. 1979. Pp. 121-22). Apart from its obvious artistic importance, this scarce collection sheds light on a highly important period in Danish history, right between the Battle of Copenhagen (1801) - between Admiral Nelson’s squadrons and the anchored Danish ship blocks – and the bombardment of Copenhagen (1807) by the British. It is a period in which Danish maritime trade blossomed anew under the shelter of neutrality, and a period that saw a dramatic increase in popular interest in maritime subjects. The work is novel in several respects and is not merely a collection of ship portraits as such. It is also not a catalogue of ship types, as one finds in the 18th century, nor a collection meant for students. Truslew portrays the ships in action, and the illustrations are of one or more ships in function, in specific situations. Sometimes they will be exposed to the raging of the elements (it is probably not a coincidence that it is an English ship that is hit by lightening!), but most of them are seen in undramatic, everyday situations. The choice of ships is highly interesting, as it includes both English, American, Russian, French, Dutch, and Swedish ships, as well as Danish. And seeing that the interest lies in portraying contemporary ships, not historical ones, it becomes and important historical source. The American schooner, for instance, alludes to the West Indies. Sweden, France, and Russia are represented by warships, whereas there is not a single English warship. What is also unusual for this type of illustrations of the period, in both Denmark and abroad, is Truslew’s ability to create space around the ships, to put them in perspective and create an overall effect of space. These 36 plates are extremely rare and as mentioned, only two complete copies exist in public institutions. These two known copies vary from each other, however. The plates of the copy at Handels- og Søfartsmuseet has both German and Danish text, and the plates are numbered in the plates. That of the Royal Collection of Graphic Art has the Danish handwritten text under the plates and no numbering, as our copy. It is that copy that is used for the 1979-publication, “Truslew – Skibe i Søen”, which reproduces all of the plates. Our copy confirms exactly to that, with a few small variations: The handwritten text on plate VIII in our copy says “En Brig…” in stead of “En dansk Brig” The colouring of the American flag on plate XXXII varies a bit, as the red stripes are much clearer in our copy The handwritten text on plate XXXVI in our copy reads “anker” in stead of “ankeret”.
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What's Welsh for Zen? The Autobiography of John…
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CALE, JOHN (+) BOCKRIS, VICTOR.
What's Welsh for Zen? The Autobiography of John Cale. - [THE SCARCE NUMBERED EDITION, SIGNED BY CALE]
Herman H. J. Lynge & Søn A/S
lyn62763
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.
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Forord. Morskabslæsning for enkelte Stænder efter…
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KIERKEGAARD, SØREN.
Forord. Morskabslæsning for enkelte Stænder efter Tid og Leilighed af Nicolaus Notabene. - [KIERKEGAARD'S SARCASTIC ROASTING OF THE HEGELIAN SYSTEM]
Herman H. J. Lynge & Søn A/S
lyn62263
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.
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Das Moderne Plakat. - [THE MAIN WORK OF BELLE…
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SPONSEL, JEAN LOUIS
Das Moderne Plakat. - [THE MAIN WORK OF BELLE EPOQUE POSTERS]
Herman H. J. Lynge & Søn A/S
lyn62774
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.
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Huetiana, ou pensees diverses de M. Huet, eveque…
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HUET, PIERRE DANIEL.
Huetiana, ou pensees diverses de M. Huet, eveque d´Avraches. Nouvelle edition, augmentée de la description en vers latins du voyage de l?auteur en Suède.
Herman H. J. Lynge & Søn A/S
lyn62786
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.
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Stadier paa Livets Vei. Studier af Forskjellige.…
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KIERKEGAARD, SØREN.
Stadier paa Livets Vei. Studier af Forskjellige. Sammenbragte, befordrede til Trykken og udgivne af Hilarius Bogbinder. - [KIERKEGAARD'S OWN COPY OF THE WORK THAT INTRODUCED "THE LEAP OF FAITH", WITH HIS OWN HANDWRITTEN CORRECTION]
Herman H. J. Lynge & Søn A/S
lyn62266
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.
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A. En Flygtig Bemærkning betræffende en Enkelthed…
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KIERKEGAARD, SØREN.
A. En Flygtig Bemærkning betræffende en Enkelthed i Don Juan. [Printed in: Fædrelandet 6te Aarg. Nr.1890. Mandagen den 19. Maj 1845 + Nr. 1891. Tirsdagen den 20. Mai 1845, edt. Giødwad]. - [KIERKEGAARD'S IMPORTANT PAPER ON DON GIOVANNI - EXCEEDINGLY SCARCE]
Herman H. J. Lynge & Søn A/S
lyn62268
(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.
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