‎Af en endnu Levendes Papirer. Udgivet mod hans Villie. - [KIERKEGAARD'S FIRST BOOK]‎

‎Kjøbenhavn, 1838. Ubeskåret, i et senere blankt omslag. Gennemgående skjold i øverste venstre hjørne, overvejende ganske svagt. Første og sidste blade mest påvirkede. X, 79pp.‎

‎Originaludgaven af Kierkegaards debut, -værket i hvilket han skarpt kritiserer H.C. Andersen, og i hvilket inspirationen fra Poul Martin Møller (til hvem han dedikerede værket ""Begrebet Angest"" - den eneste uden for familien, der er blevet beæret med en trykt dedikation af Kierkegaard) formenlig er tydeligst at spore. Den specielle titel kan med en vis rimelighed siges at hentyde til en villet videreførelse af den beundrede og på tidspunktet for udgivelsen netop afdøde Poul Martin Møllers nærmest upublicerede produktion. Den ""endnu Levende"" skulle således være ""Danmarks Gæde i Glæden over Danmark"", ""Mindet i den danske Sommer"", Poul Martin Møller, den mand, der ved sin person har inspireret Kierkegaard mere end nogen anden. Himmelstrup 6.Uncut in a very nice later halfleatherbdg. of dark red morocco w. green marbled paper and dark red gilt leather-title-label on front board. Gilt lines to back. (Oscar Jacobsen). Some brownspotting. X + 79pp.First edition of Kierkegaard's first work" -the work in which he sharply critisizes Hans Christian Andersen and ridicules the genre of fairy tales in general.‎

‎Af en endnu Levendes Papirer. Udgivet mod hans Villie. - [KIERKEGAARD'S FIRST BOOK]‎

‎Kjøbenhavn [Copenhagen], 1838. Lille 8vo. Pænt samtidigt halvlæderbind med enkelte, diskrete stregforgyldninger på ryg. False slidte, ellers ren og frisk. X + 79pp. Small 8vo. Nice contemporary half calf with discreet gilt lines to spine. Hinges with wear, but fine and tight. A large and unusually clean copy. X + 79pp.‎

‎Originaludgaven af Kierkegaards debut, -værket i hvilket han skarpt kritiserer H.C. Andersen, og i hvilket inspirationen fra Poul Martin Møller (til hvem han dedikerede værket ""Begrebet Angest"" - den eneste uden for familien, der er blevet beæret med en trykt dedikation af Kierkegaard) formenlig er tydeligst at spore. Den specielle titel kan med en vis rimelighed siges at hentyde til en villet videreførelse af den beundrede og på tidspunktet for udgivelsen netop afdøde Poul Martin Møllers nærmest upublicerede produktion. Den ""endnu Levende"" skulle således være ""Danmarks Gæde i Glæden over Danmark"", ""Mindet i den danske Sommer"", Poul Martin Møller, den mand, der ved sin person har inspireret Kierkegaard mere end nogen anden. Himmelstrup 6.First edition of Kierkegaard's first work" -the work in which he sharply critisizes Hans Christian Andersen and ridicules the genre of fairy tales in general.‎

‎Af en endnu Levendes Papirer. Udgivet mod hans Villie af S. Kjerkegaard. - [KIERKEGAARD'S OWN COPY, SPLENDIDLY BOUND FOR HIMSELF]‎

‎Kjøbenhavn, C. A. Reitzel, 1838. 8vo. X, (2), 79 pp. Magnificently bound for Kierkegaard himself in a patterned silver cloth binding with green leaves. All edges gilt. Printed on vellum-paper. The copy is noticeably larger than other copies of the book. Old owner’s inscription to inside of front board and small ex libris (Theodor Find) to the green front free end-paper. ‎

‎First edition, Kierkegaard’s own copy (from his own book collection, sold after his death), splendidly bound for himself, of his first work, which sews the seeds of his future career and initiates his philosophical production. It is in this famous review of Hans Christian Andersen as an author of novels, with a particular focus on his Only a Fiddler that Kierkegaard – the then 25 year-old theology student known only in a small academic circle, for his wit and sharp intelligence – puts forth his devastating criticism of Hans Christian Andersen – then 33 years old and already widely famous, Denmark’s other national hero and world-famous fairy tale-author. Even though the book is written as a polemic review, we already here witness Kierkegaard’s introduction of his emphasis on authentic individual existence which will continue throughout his entire production" as thus, From the Papers of one Still Living serves as a highly important introduction to Kierkegaard’s philosophical-ethical production. Kierkegaard points out that Hans Christian Andersen has not yet found himself and therefore cannot be a good author. This emphasis on authenticity and on the necessary first stage of the epic becomes an introduction to Kierkegaard’s famous theory of stages that he develops in his later works. He rejects the notion that environment is decisive in determining the fate of genius – the genius is a shaping subject, not a passive one formed by circumstances. Not one that needs to be nurtured and sheltered in order not to perish. The work was originally meant to be published as an article in the literary periodical Perseus, of which Johan Ludvig Heiberg was the editor. But the article grew too extensive, and the intended columns in the periodical were given to H.L. Martensen instead. Martensen’s article took up 70 pages and was about the idea of Faust, which vexed Kierkegaard, who had wanted to write about that subject himself. A contemporary note to the front free end-paper of the present copy states that it belonged to Kierkegaard himself and that it was bought at the auction of his books. The auction-protocol lists two copies of the work, both elaborately bound and with gilt edges (2957-2057a). Only a few months after Kierkegaard died (11th of November 1855), at the beginning of April 1856, his books were put up for sale. The sale was an event which created stir among scholars all over Denmark, and the event drew large crowds. Everyone wanted a piece of the recently deceased legend, and bidding was lively. The average price for the single items was nearly a rix-dollar a very high price for that time. As the old Herman Lynge wrote in a letter on the 22nd of May (The Royal Library, Recent Letters, D.), to the famous collector F.S. Bang, “At the sale of Dr. Søren Kierkegaard’s books everything went at very high prices, especially his own works, which brought 2 or 3 times the published prices”.” (Rohde Auction Catalogue, p. LVIJ). Many authors, philosophers, and scholars were present in the auction room, which was completely full, as was the Royal Library, who bought ca 80 lots. “Many of the books, not only his own, were paid for with much higher prices than in the book shops” (In Morgenposten no. 99, 30. April 1856, written by “P.”, translated from Danish). ""Some books were bought by libraries where they still are today, others were bought by private people, who sometimes wrote their names in the front of the books and thus, indirectly, stated that they came from Kierkegaard’s book collection… The edition (of the auction catalogue, 1967) registers all books from Kierkegaard’s book collection that it has hitherto been possible to identify – either in public or in private ownership… All in all, nearly a couple of hundred volumes – i.e. ca. 10 % – of the Kierkegaardian book collection is said to be rediscovered…"" (Rohde). Thus, today, books from Kierkegaard’s library are of the utmost scarcity. Only very few are still possible to acquire, and they hardly ever appear on the market. Himmelstrup 6 The present copy is no. 3 in Girsel's ""Kierkegaard"" (The Catalogue) which can be found here.‎

‎Af en endnu Levendes Papirer. Udgivet mod hans Villie af S. Kjerkegaard. - [H.P. KIERKEGAARD'S COPY OF SØREN'S FIRST BOOK]‎

‎Kjøbenhavn, C. A. Reitzel, 1838. 8vo. X, (2), 79 pp. Lovely contemporary brown half calf with marbled paper over boards. Double gilt lines and gilt lettering to spine. Foot of spine with the gilt initials of H.P. Kierkegaard. A few brown spots to the margin of the first eight leaves, otherwise remarkably clean. An excellent, beautifully preserved copy. With the ownership signature of H.P. Kierkegaard to front fly-leaf.‎

‎An exquisite copy of the first edition of Kierkegaard's first work, which has belonged to Kierkegaard’s disabled cousin, who was a great source of inspiration to Kierkegaard. The relationship between the two cousins was very touching, and they both benefitted greatly from the other. Søren drew inspiration from his cousin, who was lame and unable to walk, and he cared a great deal for him. Hans Peter was one of the very few who had a standing invitation to visit Søren. He felt that his cousin might lead a truer and more meaningful life than most other people, who do not face the same hardships. Hans Peter, on the other hand, was greatly comforted by his famous cousin and his edifying writings. Søren helped him feel that, in spite of his hardships, his life was not wasted – he helped him believe in God. All copies of Kierkegaard’s works belonging to his cousin denote a special significance, but it is especially lovely to find H.P. Kierkegaard’s copy of his cousin’s very first book. Kierkegaard's famous first work sews the seeds of his future career and initiates his philosophical production. It is in this famous review of Hans Christian Andersen as an author of novels, with a particular focus on his Only a Fiddler that Kierkegaard – the then 25 year-old theology student known only in a small academic circle, for his wit and sharp intelligence – puts forth his devastating criticism of Hans Christian Andersen – then 33 years old and already widely famous, Denmark’s other national hero and world-famous fairy tale-author. Even though the book is written as a polemic review, we already here witness Kierkegaard’s introduction of his emphasis on authentic individual existence will continue throughout his entire production" as thus, From the Papers of one Still Living serves as a highly important introduction to Kierkegaard’s philosophical-ethical production. Kierkegaard points out that Hans Christian Andersen has not yet found himself and therefore cannot be a good author. This emphasis on authenticity and on the necessary first stage of the epic becomes an introduction to Kierkegaard’s famous theory of stages that he develops in his later works. He rejects the notion that environment is decisive in determining the fate of genius – the genius is a shaping subject, not a passive one formed by circumstances. Not one that needs to be nurtured and sheltered in order not to perish. The work was originally meant to be published as an article in the literary periodical Perseus, of which Johan Ludvig Heiberg was the editor. But the article grew too extensive, and the intended columns in the periodical were given to H.L. Martensen instead. Martensen’s article took up 70 pages and was about the idea of Faust, which vexed Kierkegaard, who had wanted to write about that subject himself. Kierkegaard, Hans Peter (1815-62) is always referred to as Kierkegaard’s cousin, also by Kierkegaard himself, but if one is to be precise, he was Søren’s half-cousin. H.P. was the son of M.P. Kierkegaard’s (Søren’s father) cousin, M.A. Kierkegaard. H.P. was one of the few people Kierkegaard was personally very close to. As Søren writes in a letter to H.P. (SKS letter no. 27) “you are one of the exceptions”. He cared a great deal for his cousin, who was disabled. He was lame, completely paralyzed on one side of the body, and unable to walk. Intellectually, however, he was gifted, and the two cousins grew very close. Søren saw in him a purity that he did not see in other people, an ability to lead a truer and more meaningful life than others, who did not have to suffer in the same way. Søren was also a great comfort to H.P, who read the works of his famous cousin with enthusiasm. He probably owned every single work Kierkegaard wrote, and he drew great comfort from several of them. As Brøchner recalls in his recollections about Kierkegaard (Erindringer om Søren Kierkegaard – no. 43), H.P. “read his cousin’s writings with the greatest of interest, occasionally visited him in his home, and drew much spiritual awakening from these visits.” Brøchner continues to recall how he once told Kierkegaard what a great impression one of his works, Opbyggelige Taler i forskjellig Aand, had made upon H.P. In the confessional discourse, Søren portrays a person, who due to his bodily disposition is unable to practice anything physically or outwardly, and goes on to beautifully describe how this person too is subject to the same ethical demands as everyone else and what particular form this life-assignment takes on for him. To this, Søren replied “yes! To him, that work is a blessing”. And so it was. Reading his cousin’s upbuilding works provided the disabled Hans Peter with the power to overpower gloomy thoughts about his life having no meaning. Søren gave him, not only through his writings, but also through his meetings and conversations with him, the feeling of being as important as everyone else, as those who were physically blessed. There is no doubt that Kierkegaard drew inspiration from his admirable cousin, who had to overcome so much. And there is no doubt that H.P. was close to Søren’s heart. Apart from Boeson, H.P. was the only person who had a standing invitation. He writes how he admires H.P., who, reconciled with his fate, with patience and devotion solves a task that is just as great as the one everyone else has to solve, whether they do big business, build houses, write great books, etc. – “when all is heard, everything, after all, mainly comes down to fervor – and when all is forgotten, it also comes down to fervor” … “Do not forget the duty to love thyself… That you are somehow set outside of life… that in the eyes of a stupid world, you are superfluous, let that not rob you of the idea of yourself.” (Letter 27). Like his famous cousin, H.P. Kierkegaard was also a bibliophile and had a beautiful book collection. The books that surface from his library are usually in excellent condition and are often bound in beautiful bindings, much like those Søren had made for his books. Himmelstrup 6 The present copy is no. 4 in Girsel's ""Kierkegaard"" (The Catalogue) which can be found here.‎

‎Afluttende uvidenskabelig Efterskrift til de philosophiske Smuler. Mimisk=pathetisk=dialektisk Sammenskrift, Existentielt Indlæg af Johannes Climacus. K., 1846. X+480+(4)pp.‎

‎Ubeskåret i med den original hollanderede forperm bevaret. Ryg restaureret m. papir som det originale samt ny bagperm.‎

‎Originaludgave. Himmelstrup 90.‎

‎Afsluttende uvidenskabelig Efterskrift til de philosophiske Smuler. Mimisk=pathetisk=dialektisk Sammenskrift, Existentielt Indlæg af Johannes Climacus. Udgiven af S. Kierkegaard.‎

‎K., 1846. Samt. hldrbd. m. rygforgyldn. Øvre fals restaureret. Skjold i øvre højre hjørne. X+480+(4)pp.‎

‎Originaludgave. Himmelstrup 90. ""Jakob Knudsen"" på smudstitilbl.‎

‎Afsluttende uvidenskabelig Efterskrift til de philosophiske Smuler. Mimisk=pethetisk=dialektisk Sammenskrift, existentielt Indlæg af Johannes Climacus. Udgiven af S. Kierkegaard.‎

‎Kjøbenhavn, 1846. Samt. hldrbd. m. rig tidstypisk rygforgyldn. False slidte og indre false lidt svage. Hjørner slidte. Brunet og med understregninger, primært i blyant.‎

‎Originaludgave. Himmelstrup 90.‎

‎Atten opbyggelige Taler.‎

‎K., 1843-1845. Lidt senere sort hldrbd. Nedre kapitæl lidt stødt. Gennemgående vandskjold. (IV)+52+62+84+59+70+111pp.‎

‎Originaludgave. Himmelstrup 85.‎

‎Atten opbyggelige Taler.‎

‎K., 1843-1845. 8vo. Smukt lidt senere hldrbd.m. rig rygforgyldn., ophøjet ""bind"", dannet af heftesnoren. 2. blad (indhold) repareret. Pp 1-50 m. svagt skjold for neden, ellers pæn. (Iv)+52+62+84+59+70+111pp.‎

‎Originaludgave. Himmelstrup 85.First edition of Kierkegaard's important eighteen upbuilding discourses, which comprise his two, three, and four upbuilding discourses from the years 1843-45, with the joint title-page of all eighteen. The work constitutes Kierkegaard's religious works, which supplement his theological and philosophical ones.The first upbuilding discourses were published the same year as Either-Or, and it is interesting to note that in opposition to his major philosophical works, the religious upbuilding discourses actually bear the name of the author on the title-page, -a fact that was by no means incidental. While the pseudonymous works could make one doubt the religiousness of the author, the parallelly written religious discourses stress the fact that we are dealing with an author, who was religious from the very beginning, -a fact that Kierkegaard also wished to establish himself"" in his journals he clearly states that the religious discourses bear as much significance for his work as a whole as do the larger pseudonymous works, ""I began with ""Either-Or"" and two upbuilding discourses..."" he says, and explains that he intended the upbuilding, the religious, to advance, and that he wanted to show ""that the writer was not an aesthetic author who in the course of time grew older and for that reason became religious"" (Journals, IX A 227).The importance of the upbuilding discourses and the close relationship they have with the major works and Kierkegaard's philosophical development also becomes evident with the fact that every pseudonymous work was accompanied by a little collection of ""upbuilding discourses"" until ""Concluding Postscript"" appeared.‎

‎Atten opbyggelige Taler.‎

‎Kjøbenhavn [Copenhagen], P. G. Philipsens Forlag, 1843-1845. 8vo. Bound uncut in a recent pastiche cardboardbinding, imitating the original brown cardboard binding, in which it was issued. Printed pastice paper label to spine. Some brownspotting as always, due to the paper quality. (4), 52, 62, 84, 59 (recte 57 pp., i.e. without the blank leaf between the title-page and the preface), 70, 111 pp. Complete with all the titles and the joint title-page (without the blank leaf after the preface of ""To opbyggelige Taler, 1844"" - which is not called for and hardly ever present).‎

4 Images

‎First edition of Kierkegaard's important eighteen upbuilding discourses, which comprise his two, three, and four upbuilding discourses from the years 1843-45, with the joint title-page of all eighteen. The work constitutes Kierkegaard's religious works, which supplement his theological and philosophical ones.The first upbuilding discourses were published the same year as Either-Or, and it is interesting to note that in opposition to his major philosophical works, the religious upbuilding discourses actually bear the name of the author on the title-page, a fact that was by no means incidental. While the pseudonymous works could make one doubt the religiousness of the author, the parallelly written religious discourses stress the fact that we are dealing with an author, who was religious from the very beginning, a fact that Kierkegaard also wished to establish himself"" in his journals he clearly states that the religious discourses bear as much significance for his work as a whole as do the larger pseudonymous works, ""I began with ""Either-Or"" and two upbuilding discourses..."" he says, and explains that he intended the upbuilding, the religious, to advance, and that he wanted to show ""that the writer was not an esthetic author who in the course of time grew older and for that reason became religious"" (Journals, IX A 227).The importance of the upbuilding discourses and the close relationship they have with the major works and Kierkegaard's philosophical development also becomes evident with the fact that every pseudonymous work was accompanied by a little collection of ""upbuilding discourses"" until ""Concluding Postscript"" appeared.Himmelstrup 85.‎

‎Atten Opbyggelige Taler. Anden udgave.‎

‎Kbhvn., 1862. Samt. hldrbd. Rig rygforgyldning. Ryg lidt slidt. (6),378 pp.‎

‎Atten opbyggelige Taler. - [THE UPBUILDING DISCOURSES]‎

‎Kjøbenhavn [Copenhagen], 1843-1845. 8vo. Near contemporary half calf with richly gilt spine. Binding with very light wear. Front free end-paper with the ownership-inscription of Michael Bentzon and his acquisition date of 1855 (the same year that Kierkegaard died). Some brownspotting here and there and the first couple of leaves of ""To opbyggelige Taler, 1844"" with a damp stain. Neat underlinings in the text as well as several marginalia, mostly in pencil. A very good copy indeed. (IV), 52, 62, 84, 59, 70, 111pp. Complete with all the half-titles and the joint title-page (without the blank leaf after the preface of ""To opbyggelige Taler, 1844"" - which is not called for and hardly ever present).‎

‎First edition of Kierkegaard's important Eighteen Upbuilding Discourses, which comprise his two, three, and four upbuilding discourses from the years 1843-45, with the joint title-page of all eighteen. The work constitutes Kierkegaard's religious works, which supplement his theological and philosophical ones.The first upbuilding discourses were published the same year as Either-Or, and it is interesting to note that in opposition to his major philosophical works, the religious upbuilding discourses actually bear the name of the author on the title-page, -a fact that was by no means incidental. While the pseudonymous works could make one doubt the religiousness of the author, the parallelly written religious discourses stress the fact that we are dealing with an author, who was religious from the very beginning, -a fact that Kierkegaard also wished to underline himself"" in his journals he clearly states that the religious discourses bear as much significance for his work as a whole as do the larger pseudonymous works, ""I began with ""Either-Or"" and two upbuilding discourses..."" he says, and explains that he intended the upbuilding, the religious, to advance, and that he wanted to show ""that the writer was not an esthetic author who in the course of time grew older and for that reason became religious"" (Journals, IX A 227).The importance of the upbuilding discourses and the close relationship they have with the major works and Kierkegaard's philosophical development is also stressed by the fact that every pseudonymous work was accompanied by a little collection of ""upbuilding discourses"" until ""Concluding Postscript"" appeared.Himmelstrup 85.‎

‎Begrebet Angest. En simpel psychologisk=paapegende Overveielse i Retning af det dogmatiske Problem om Arvesynden. Af Vigilius Hafniensis. - [THE ONLY KNOWN COPY ON SPECIAL PAPER OF THE WORK THAT INTRODUCED ""ANGST"" IN PHILOSOPHY]‎

‎Kjøbenhavn, Reitzel, 1844. 8vo. (8), 184 pp. Bound in a black glitted full paper binding mimicking Kierkegaard’s gift-bindings. With Gothic gilt lettering and printing year to spine. Top edge gilt, otherwise uncut. Bound by Anker Kyster’s Eftf. 1958, more specifically Bent Andree, with his name in pencil under the book-binder stamp on front free end-paper. A bit of wear to extremities. One leaf loose. The copy is a most curious one. It was been washed and restored and then bound by one of Denmarks’ best bookbinders of all time, clearly under specific instructions to both keep it original, but to also reflect the typical bindings Kierkegaard had made. The copy is on fine, bright white vellum-paper (!), uncut, and bound with the original back-strip with the original printed title-label, preserving all of the printed text and with blank blue wrappers of the exact same paper as the back-strip. To our knowledge, The Concept of Anxiety did not appear in blue blank wrappers. It did, however, appear in the characteristic blue paper binding. The wrappers here bound in, however, do not match this paper exactly.‎

‎A unique copy of the scarce first edition of this classic of Existentialism, being the only known copy printed on fine paper. The Concept of Anxiety is one of Kierkgaard's greatest works, his primary psychological work, and the work with which ""Angst"" is introduced in philosophy. It is futhermore (together with Sixteen Unbuilding Discourses - the amputated Eighteen Upbuilding Discourses), the rarest of Kierkegaard's works, at is was printed in half as many copies as his other works. Not a single presentation-copy of the work is known to exist, no copy on special paper has been registered (before this), and merely a single copy of the work is listed in the auction catalogue of Kierkegaard’s books sold after he died (the whereabouts of this copy unknown). This could possibly be the hitherto unlocated copy from Kierkegaard’s own collection. Or it could be a copy he gave away, the only one to have ever surfaced. It is undoubtedly one or the other, seeing that it is on special vellumpaper, on which Kierkegard only had copies made for himself, for presentation, or for Regine.There could be several explanations for the mystery of the bound in wrappers: 1) they are new wrappers made to match the original spine with the original printed title-label" 2) they are the original blue paper taken off the original cardboard-boards in order to bind them in a binding that mimics a Kierkegaardpresentation-binding 3) they are unknown original wrappers, not previously registered for The Concept of Anxiety. It is this classic of Existentialism that introduced the notion of “Angst” (anxiety) in philosophy. If Kierkegaard had written nothing else, The Concept of Anxiety alone would have cemented him as one of the most important thinkers since antiquity. Nowhere else can one find an account of the concept of anxiety that comes close in importance to the one Kierkegaard gives in the present work. Using the Fall in the Garden of Eden as the foundation of the analysis, he succeeds in describing what no-one has been able to before or since. “Long before modern psychology had entered puberty, Kierkegaard unfurled advanced psychological concepts that in many senses were Freudian before Freud was around. In his primary psychological work, The Concept of Anxiety, he presents his detailed analyses of the relationship of anxiety to phenomena such as freedom, sexuality, original sin, and history.” (The Søren Kierkegaard Research Centre). Being one of his most important and influential philosophical works, The Concept of Anxiety is essential to all later existentialist writers. It was arguably this work that more than any other influenced Existentialism. The work bears a printed dedication to his beloved Poul Martin Møller, one of the most beautiful and moving dedications in a philosophical work. Poul Martin Møller was his philosophy professor, but more than that he was a moral mentor and one of a few people that Kierkegaard truly admired and cared for. Poul Martin Møller died in 1838, leaving almost no published works behind he is the only person outside of Kierkegaard’s immediate family (here including Regine), who had been honoured with a printed dedication in any of his books. Apart from the title Sixteen Upbuilding Discourses (the amputated Eighteen Upbuilding Discourses – without the two that were quickly sold out), The Concept of Anxiety is by far the scarcest of Kierkegaard’s works – “The Concept of Anxiety was only printed in 250 copies!” (Textspejle, p. 58, translated from Danish), which is ca half of most of the other works. It is, interestingly, the only one of the pseudonymous writings from the period that was reprinted, despite the poor sales numbers of the first issue. In the summer of 1847, when Reitzel buys the remainders of the first issue, a mere 165 copies of what is arguably now considered Kierkegaard’s most important work had been sold. The Concept of Anxiety is not only notorious for its pivotal importance in the history of philosophy and for essentially being the theoretical foundation of Existentialism" among Kierkegaard collectors and bibliophiles in general, it is also notorious for its scarcity, having been printed in a mere ca 250 copies. Furthermore, like Fear and Trembling, not a single presentation-copy of the work is known to exist, nor had any copy printed on special paper ever been discovered (until now). A single copy of the work is listed in the auction catalogue of Kierkegaard’s books sold after he died. But the whereabouts of this copy is unknown (possibly until now). Himmelstrup 62. The present copy is no. 24a in Girsel's ""Kierkegaard"" (The Catalogue) which can be found here.‎

‎Bibliotheca Kierkegaardiana. Edenda curaverunt Niels Thulstrup, Marie Mikulova Thulstrup. 16 vols.‎

‎Copenhagen, Reitzel, 1978-88. Orig. printed wrappers to all volumes. In English.‎

‎The paperback edition.‎

‎Bibliotheca Kierkegaardiana. Edenda curaverunt Niels Thulstrup, Marie Mikulova Thulstrup. 16 vols.‎

‎Copenhagen, Reitzel, 1978-88. Orig. printed wrappers to all volumes. In English.‎

‎The paperback edition.‎

‎Christelige Taler. (4 Afdelinger).‎

‎Kjøbenhavn, 1848. De 4 afdelinger i 4 ensartede mørkeblå blanke omsl. Alle 4 aldeles friske og rene. 103+74+96+77pp.The four parts bound separately in four later uniform dark blue wrappers. All four very nice and clean. 103+74+96+77pp.‎

‎Originaludgave. Himmelstrup 110.First edition. Himmelstrup 110.‎

‎EDIFYING DISCOURSES, A Selection‎

‎Collins - Fontana Books. 1958. In-12. Broché. Etat d'usage, Couv. convenable, Dos frotté, Intérieur acceptable. 253 pages.. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎Fontana Books, 718 R. Edited with an Intro. by Paul L. HOLMER. Trans. by David F. and Lilian MARVIN SWENSON. Classification Dewey : 420-Langue anglaise. Anglo-saxon‎

‎En literair Anmeldelse. To Tidsaldre, Novelle af Forfatteren til ""En Hverdagshistorie"", udgiven af J.L.Heiberg. Kbhv. Reitzel, 1845, anmeldt af S.Kierkegaard.‎

‎K., 1846. Ubeskåret i senere blankt omsl. Første og sidste blade noget brunplettet. 114pp.‎

‎Originaludgave. Himmelstrup 100.‎

‎Enten – Eller. Et Livs=Fragment udgivet af Victor Eremita. Anden Udgave. Første Deel, indeholdende A.’s Papirer + Anden Deel, indeholdende B.’s Papirer, Breve til A. - [KIERKEGAARD’S OWN PERSONAL COPY OF EITHER-OR, WITH HIS OWN CORRECTIONS]‎

‎Kjøbenhavn, Reitzel, 1849. 8vo. XIV, (2), 320" (4), 250 pp. Bound in one original green full cloth binding with blindstamped decorative borders to boards and blindstamped lines and gilt title to spine. Rebacked preserving most of the original spine. White moiré end-papers and all edges gilt. Corners bumped. First title-page browned and brownspotting throughout. Previous owner’s neat pencil annotations about the history of the copy to back free end-paper and annotations/corrections in Kierkegaard’s hand to pp. 208 and 275 of vol. 1.‎

‎Kierkegaard’s own personal copy of the second issue of Either-Or, with his own corrections – one of them correcting a “not” to an “either”! This copy is with all likelihood nr. 2116 of the auction catalogue of Kierkgaard’s book collection – there merely described as “dainty binding with gilt edges”. The title-gilding on the spine, including the types, the fond, and the size, is identical to that of the five presentation-bindings of the second edition of Either-Or that have been preserved and identified (the ones for Hertz, Andersen, and Winther being the only ones with the presentation-inscription preserved). The spine- and the border-decoration, however, differs, as there is no decorative border on the other copies, which all have gilt volume-identification on them. This is clearly one of the dainty copies Kierkegaard had made, but differing somewhat from the copies he gave away. The style of the handwritten corrections is identical to those in Kierkegaard’s copy of Stadier paa Livets Vei (Stages on Life’s Way) (ex the collection of Muüllertz). The two corrections are:Vol. 1 p. 208: correcting “ret” to “vel”, i.e. meaning to change the sentence “One rightfully feels” to “One presumably feels”Vol. 1 p. 275: correcting “ikke” to “enten”, i.e. meaning to change the sentence “I could not use the conversation…” to “I could either use the conversation…” The two errors were first publicly identified with the publication of Kierkegaard’s collected works half a century later. It is absolutely magnificent to have here what is with all likelihood Kierkegaard’s own personal copy of his magnum opus, with his own handwritten corrections in it. In the light of the history of the work, it makes perfect sense for Kierkegaard to have used and read the second edition of the work. Kierkegaard’s magnum opus Either-Or is considered the foundational work of existentialism and doubtlessly the most famous work by the greatest Scandinavian philosopher of all times, who ""is now generally considered to be, however eccentric, one of the most important Christian philosophers"" (PMM 314). Kierkegaard's monumental magnum opus seminally influenced later as well as contemporary philosophy and ranks as one of the most important works of philosophy of modern times. Either-Or is the earliest of Kierkegaard’s major works and the work with which he begins his pseudonymous authorship. Kierkegaard’s pseudonymity is an entire subject unto its own. The various cover names he uses play a significant role in his way of communicating and are essential to the understanding of his philosophical and religious messages. And it all properly begins here, with his groundbreaking magnum opus. Conjuring up two distinctive figures with diverging beliefs and modes of life – the aesthetic “A” of Part One, and the ethical B (note that this is the first “pseudonym” that Kierkegaard uses, in his earliest articles – no. I above)/Judge Vilhelm of Part Two, Kierkegaard presents us with the most basic reflections on the search for a meaningful existence, seen from two completely different philosophical views. This masterpiece of duality explores the foundational conflict between the ethical and the aesthetical, providing us along the way with the now so famous contemplations on music (Mozart), drama, boredom, pleasures, virtues, and, probably most famously, seduction (and rejection – The Seducer’s Diary). It is primarily Judge Vilhelm from Part Two of Either-Or that has bestowed upon Kierkegaard the reputation as the Father of Existentialism. His emphasis on taking ownership of oneself and the importance of making choices has made him the (first) personification of Existentialism and the idea that one does not passively develop into the self that he or she should be or ought to become. Kierkegaard went to great lengths to ensure that the public would not know the identity of the author was of Either-Or. He even had the draft of the work done by several hands, so that employees at the printer’s would also be deceived. Despite his efforts, however, it did not take long for the public to guess that Kierkegaard had written this astounding work. But Kierkegaard himself kept up the façade and did not accept authorship until several years later. Nothing Kierkegaard did was left to chance, which his carefully chosen pseudonyms also reflect. This also spills over in his presentation-inscriptions, which follow as strict a pattern as the pseudonyms themselves – he never signed himself the author, if his Christian name was not listed as the author on the title-page. And seeing that he had not accepted authorship of Either-Or and is not mentioned by name anywhere on the title-page (also not as the editor nor publisher as with the other pseudonymous works), he was not able to give away copies of his magnum opus, which is why no presentation-copy of the first edition exists. The appearance of the second edition of this monumental work was, naturally, carefully planned. Either-Or first appeared in 1843, and due to the great demand for the work, which had originally only been printed in ca 525 copies, it had quickly been sold out" but Kierkegaard refused to have it reprinted. In 1849, finally, he decided to let it appear again, in a textually unchanged version. When the second edition appeared (recte second issue), Kierkegaard had meanwhile owned up to the authorship of Either-Or. He had done so in 1846, in his Concluding Unscientific Postscript to The Philosophical Fragments (own translation): “For the sake of manners and etiquette I hereby acknowledge, what can hardly in reality be of interest to anybody to know, that I am, as one says, the author of Either-Or (Victor Eremita), Copenhagen in February 1843...”. Now, finally, Kierkegaard could give away his magnum opus! In his Papers from 1849, Kierkegaard states (own translation): “The poets here at home each received a copy of Either-Or. I thought it my duty and now I was able to do it because now one cannot reasonably claim that a conspiracy is made concerning the book. -because the book is now old and its crisis over. Of course they were given the copy from Victor Eremita...” (Pap., X1A 402). Naturally, because “as little as I in Either-Or is the Seductor or the Assessor, as little am I the publisher Victor Eremita, exactly as little" he is a poetically-real subjective thinker, as he is also found in “in vino veritas.” “ (the postscript to the Postscript, 1846) But he only sent few copies to very choice people, fewer than he did most of his other works, and only three copies have been identified (to Henrik Hertz, Christian Winther, and Hans Christian Andersen). Three further copies in gift-bindings corresponding to these have been identified, but in these copies, the leaf with the presentation-inscription has also been torn out. He must have given away yet another copy – one presumably not being on vellum-paper, as, according to his own notes, he had asked the printers for six copies on vellum paper (see Pap., Vol. X, part five, p. (203).) -, making the total known (albeit not all identified) number of copies seven. “Two copies in a binding corresponding to Hertz’s copy have been traced, but in both, the front free end-paper has been torn out. It leads one to think that the completely unusual presentation inscription (signed by Victor Eremita!), for the immediate posterity has been of such a curious nature that it has tempted autograph hunters on several occasions.” (Tekstspejle, p. 97, translated from Danish). “The other book, of which the recipients stand out is the second edition of Either-Or, which appeared in May 1849. The first edition from 1843 had been sold out for several years, but Kierkegaard had refused to have it reprinted. In our context we must remember that in 1843, he was unable to send gift copies of the first edition… When, in 1843, he lets Either-Or be reprinted in textually unaltered form, he has meanwhile (1846) admitted to authorship of the work. But the wording on the title-pages of the two leaves does not allow him to sign the dedication “from the Author” or “from the publisher” or the like.” (Tekstspejle p. 96, translated from Danish). Either-Or is now not only the title of Kierkegaard’s most famous and widely read work, it is also a phrase that summarizes much of the thinking for which he is best known and a cornerstone of what we now characterize as Existentialism. The first edition caused a sensation. The second issue (termed “edition”, although it is textually unaltered) is not only the first edition of the work to appear after Kierkegaard had acknowledged authorship of it and thus also confirmed being one and the same with his most famous pseudonym, it is also the first of Kierkegaard’s works to appear in a second edition or issue. The second edition of the work is thus also of the utmost importance and is one of the only important second editions of any of Kierkegaard’s works. Only a few months after Kierkegaard died (11th of November 1855), at the beginning of April 1856, his books were put up for sale. The sale was an event which created stir among scholars all over Denmark, and the event drew large crowds. Everyone wanted a piece of the recently deceased legend, and bidding was lively. The average price for the single items was nearly a rix-dollar a very high price for that time. As the old Herman Lynge wrote in a letter on the 22nd of May (The Royal Library, Recent Letters, D.), to the famous collector F.S. Bang, “At the sale of Dr. Søren Kierkegaard’s books everything went at very high prices, especially his own works, which brought 2 or 3 times the published prices”.” (Rohde Auction Catalogue, p. LVIJ). Many authors, philosophers, and scholars were present in the auction room, which was completely full, as was the Royal Library, who bought ca 80 lots. “Many of the books, not only his own, were paid for with much higher prices than in the book shops” (In Morgenposten no. 99, 30. April 1856, written by “P.”, translated from Danish). ""Some books were bought by libraries where they still are today, others were bought by private people, who sometimes wrote their names in the front of the books and thus, indirectly, stated that they came from Kierkegaard’s book collection… The edition (of the auction catalogue, 1967) registers all books from Kierkegaard’s book collection that it has hitherto been possible to identify – either in public or in private ownership… All in all, nearly a couple of hundred volumes – i.e. ca. 10 % – of the Kierkegaardian book collection is said to be rediscovered…"" (Rohde). Thus, today, books from Kierkegaard’s library are of the utmost scarcity. Only very few are still possible to acquire, and they hardly ever appear on the market. PMM: 314Himmelstrup 21 The present copy is no. 14 in Girsel's ""Kierkegaard"" (The Catalogue) which can be found here.‎

‎Enten – Eller. Et Livs=Fragment udgivet af Victor Eremita. Anden Udgave. Første Deel, indeholdende A.’s Papirer + Anden Deel, indeholdende B.’s Papirer, Breve til A. - [IN PRESENTATION-BINDING, ONE OF SIX COPIES ON THIN VELLUM-PAPER]‎

‎Kjøbenhavn, Reitzel, 1849. 8vo. XIV, (2), 320" (4), 250 pp. Bound in one original full patterned cloth binding with gilt lines to spine as well as title in Gothic gilt lettering and gilt volume-numbering (“1.2.”). Printed on thin vellum-paper. Capitals and corners with a bit of wear. Spine and edges of boards a bit faded. But overall very nice. Blue pasted-down end-papers. Internally very nice and clean. Old owner’s signature to inside of front board (J.P. Melbye) and previous owner’s neat pencil annotations explaining that the front free end-paper has been removed, that it may well have carried an inscription from Kierkegaard, and that the binding corresponds to the bindings of the copies that we know he gave away.‎

‎The important second edition (recte issue) in Kierkegaard’s own characteristic presentation-binding, one of the six copies on thin vellum-paper (although we can find mention of seven presentation-copies having been given away, Kierkegaard notes himself that he had six copies printed on special paper). There is no doubt that the present copy is in Kierkegaard’s gift- (or presentation-) binding, which he had made in the same style for the copies that he gave away. He always wrote the presentation-inscription on the front free end-paper, which is unfortunately lacking here, so that we cannot determine, to whom he gave the present copy. The binding corresponds to the one that gave to e.g. Henrik Hertz (which still has the presentation-inscription). Kierkegaard’s magnum opus Either-Or is considered the foundational work of existentialism and doubtlessly the most famous work by the greatest Scandinavian philosopher of all times, who ""is now generally considered to be, however eccentric, one of the most important Christian philosophers"" (PMM 314). Kierkegaard's monumental magnum opus seminally influenced later as well as contemporary philosophy and ranks as one of the most important works of philosophy of modern times. Either-Or is the earliest of Kierkegaard’s major works and the work with which he begins his pseudonymous authorship. Kierkegaard’s pseudonymity is an entire subject unto its own. The various cover names he uses play a significant role in his way of communicating and are essential to the understanding of his philosophical and religious messages. And it all properly begins here, with his groundbreaking magnum opus. Conjuring up two distinctive figures with diverging beliefs and modes of life – the aesthetic “A” of Part One, and the ethical B (note that this is the first “pseudonym” that Kierkegaard uses, in his earliest articles – no. I above)/Judge Vilhelm of Part Two, Kierkegaard presents us with the most basic reflections on the search for a meaningful existence, seen from two completely different philosophical views. This masterpiece of duality explores the foundational conflict between the ethical and the aesthetical, providing us along the way with the now so famous contemplations on music (Mozart), drama, boredom, pleasures, virtues, and, probably most famously, seduction (and rejection – The Seducer’s Diary). It is primarily Judge Vilhelm from Part Two of Either-Or that has bestowed upon Kierkegaard the reputation as the Father of Existentialism. His emphasis on taking ownership of oneself and the importance of making choices has made him the (first) personification of Existentialism and the idea that one does not passively develop into the self that he or she should be or ought to become. Kierkegaard went to great lengths to ensure that the public would not know the identity of the author was of Either-Or. He even had the draft of the work done by several hands, so that employees at the printer’s would also be deceived. Despite his efforts, however, it did not take long for the public to guess that Kierkegaard had written this astounding work. But Kierkegaard himself kept up the façade and did not accept authorship until several years later. Nothing Kierkegaard did was left to chance, which his carefully chosen pseudonyms also reflect. This also spills over in his presentation-inscriptions, which follow as strict a pattern as the pseudonyms themselves – he never signed himself the author, if his Christian name was not listed as the author on the title-page. And seeing that he had not accepted authorship of Either-Or and is not mentioned by name anywhere on the title-page (also not as the editor nor publisher as with the other pseudonymous works), he was not able to give away copies of his magnum opus, which is why no presentation-copy of the first edition exists. The appearance of the second edition of this monumental work was, naturally, carefully planned. Either-Or first appeared in 1843, and due to the great demand for the work, which had originally only been printed in ca 525 copies, it had quickly been sold out" but Kierkegaard refused to have it reprinted. In 1849, finally, he decided to let it appear again, in a textually unchanged version. When the second edition appeared (recte second issue), Kierkegaard had meanwhile owned up to the authorship of Either-Or. He had done so in 1846, in his Concluding Unscientific Postscript to The Philosophical Fragments (own translation): “For the sake of manners and etiquette I hereby acknowledge, what can hardly in reality be of interest to anybody to know, that I am, as one says, the author of Either-Or (Victor Eremita), Copenhagen in February 1843...”. Now, finally, Kierkegaard could give away his magnum opus! In his Papers from 1849, Kierkegaard states (own translation): “The poets here at home each received a copy of Either-Or. I thought it my duty and now I was able to do it because now one cannot reasonably claim that a conspiracy is made concerning the book. -because the book is now old and its crisis over. Of course they were given the copy from Victor Eremita...” (Pap., X1A 402). Naturally, because “as little as I in Either-Or is the Seductor or the Assessor, as little am I the publisher Victor Eremita, exactly as little" he is a poetically-real subjective thinker, as he is also found in “in vino veritas.” “ (the postscript to the Postscript, 1846) But he only sent few copies to very choice people, fewer than he did most of his other works, and only three copies have been identified (to Henrik Hertz, Christian Winther, and Hans Christian Andersen). Three further copies in gift-bindings corresponding to these have been identified, but in these copies, the leaf with the presentation-inscription has also been torn out. He must have given away yet another copy – one presumably not being on vellum-paper, as, according to his own notes, he had asked the printers for six copies on vellum paper (see Pap., Vol. X, part five, p. (203).) -, making the total known (albeit not all identified) number of copies seven. “Two copies in a binding corresponding to Hertz’s copy have been traced, but in both, the front free end-paper has been torn out. It leads one to think that the completely unusual presentation inscription (signed by Victor Eremita!), for the immediate posterity has been of such a curious nature that it has tempted autograph hunters on several occasions.” (Tekstspejle, p. 97, translated from Danish). “The other book, of which the recipients stand out is the second edition of Either-Or, which appeared in May 1849. The first edition from 1843 had been sold out for several years, but Kierkegaard had refused to have it reprinted. In our context we must remember that in 1843, he was unable to send gift copies of the first edition… When, in 1843, he lets Either-Or be reprinted in textually unaltered form, he has meanwhile (1846) admitted to authorship of the work. But the wording on the title-pages of the two leaves does not allow him to sign the dedication “from the Author” or “from the publisher” or the like.” (Tekstspejle p. 96, translated from Danish). Either-Or is now not only the title of Kierkegaard’s most famous and widely read work, it is also a phrase that summarizes much of the thinking for which he is best known and a cornerstone of what we now characterize as Existentialism. The first edition caused a sensation. The second issue (termed “edition”, although it is textually unaltered) is not only the first edition of the work to appear after Kierkegaard had acknowledged authorship of it and thus also confirmed being one and the same with his most famous pseudonym, it is also the first of Kierkegaard’s works to appear in a second edition or issue. The second edition of the work is thus also of the utmost importance and is one of the only important second editions of any of Kierkegaard’s works. PMM: 314 Himmelstrup 21 The present copy is no. 15 in Girsel's ""Kierkegaard"" (The Catalogue) which can be found here.‎

‎Enten-teller, bind 1.‎

‎Gyldendals Bogklub. 1982. In-8. Relié toilé. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 437 pages.. . . . Classification Dewey : 490-Autres langues‎

‎Bind 1. Classification Dewey : 490-Autres langues‎

‎Forførerens Dagbog. Med et indledende Forord af Hans Brix.‎

‎København, Christians=Pressens Forlag, 1919. Ubeskåret i orig. helldrbd. med blindtryk på ryg og permer. 163 pp. Kobberstukket titelvignet of kobberstukket portræt af Søren Kierkegaard, stukket af Knud Hendriksen, trykt af kobbertrykker Johan Beck. Trykt på Van Gelder Zonen papir.Nr. 71 af 325 eksemplarer.‎

‎Forførerens Dagbog. Med et indledende Forord af Hans Brix.‎

‎København, Christians=Pressens Forlag, 1919. Ubeskåret i orig. helldrbd. med blindtryk på ryg og permer. 163 pp. Kobberstukket titelvignet of kobberstukket portræt af Søren Kierkegaard, stukket af Knud Hendriksen, trykt af kobbertrykker Johan Beck. Trykt på Van Gelder Zonen papir.Nr. 67 af 325 eksemplarer.‎

‎Forord. Morskabslæsning for enkelte Stænder efter Tid og Leilighed af Nicolaus Notabene. K., 1844. 110pp.‎

‎Ubeskåret i orig. hollanderet bd. m. den bogtrykte titeletiket. Forperm lidt løs. Sidste 30 sider m. skjold. Noget brunplettet.‎

‎Originaludgave. Himmelstrup 70. Har tilhørt Vilhelm Grønbeck.‎

‎Forord. Morskabslæsning for enkelte Stænder efter Tid og Leilighed af Nicolaus Notabene. - [KIERKEGAARD'S MOST HUMOROUS WORK - A FORERUNNER OF POSTMODERNISM]‎

‎Kjøbenhavn, C.A. Reitzel, 1844. 8vo. A splendid copy in contemporary full cloth with blindstamped decorations to boards and gothic gilt lettering to spine. Light damp stains to back board and a bit of wear to capitals. Internally unusually nice and clean. 110, (1) pp. With an inscription for Josephine Bidoulac (later married to Welhaven), from Emil Wedel, to front fly-leaf. Pencil annotations by Jonas Skovgaard to front free end-paper. ‎

‎The uncommon first edition, in a lovely copy, of Kierkegaard's most humorous work. Published simultaneously with The Concept of Anxiety, Prefaces can be viewed as its companion piece. It represents an altogether different genre, 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. 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 Himmelstrup 7.‎