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Displayed below are some selected recent viaLibri matches for books published in 1951

        Prolegomena to a theory of organization. U.S. Air Force Project RAND report RM-734.

      Santa Monica, CA: The RAND Corporation, 1951. The Prolegomena presents a framework within which to make descriptive analyses of centrally-directed organizations. It is extremely rare: in his 1998 reprint of this report, Michael D. Godfrey states that "the original report has long been unavailable and the only known remaining copy was Morgenstern's personal copy." There is no copy in OCLC. "In the 1951 paper, 'Prolegomena to a Theory of Organization,' [Morgenstern] introduces Nature's benevolence when discussing the signaling system of an organization. For a signaling system of an organization there is no distinction between event and signal: An event becomes only known through a signal, so for an organization they are inseparable. Morgenstern classified the events relevant to an organization into 'events of the organization' and 'other events' which are either 'physical, i.e., produced by Nature' or 'other organizations choices.' 'Events of Nature' are determinable if their probability distributions are known. But even if their probabilities cannot be estimated, Morgenstern emphasizes that 'Nature is never malevolent, i.e., bent on impeding the organization in the pursuit of its aim'." ( Oskar Morgenstern (1902-77) was groomed in the Austrian tradition, but was considerably less dogmatic in his tastes. Succeeding Hayek in 1931 as director of the Austrian Institute for Business Cycle research, Morgenstern's research interests were not in the Hayekian monetary overinvestment theory, but rather in speculation and economic prediction (the subject of his 1928 habilitation thesis). A professor at the University of Vienna in 1935, Morgenstern was also an active participant in Karl Menger's Vienna Colloquium and employed Abraham Wald in his institute.He was also one of the great critics of the Austrian theory of capital, helping to bury the notion of the "average period of production." His 1935 article on the difficulties of perfect foresight, which stemmed partly from his Austrian training, and the greater generality of "strategic behavior" over "Robinson-Crusoe" price-taking behavior, led the mathematician Edward Cech to put him in touch with John von Neumann's 1928 article on game theory. After Morgenstern was dismissed by the Nazis in 1938, he moved on to Princeton, where he finally met von Neumann. Together, Morgenstern and John von Neumann wrote their famous treatise on the theory of games (1944), which not only launched game theory but also the theory of choice under uncertainty. Morgenstern provided much of the economic analysis in that book. See Large 4to (283 x 218 mm), offset typescript, ff. [3], 122, original printed wrappers.

      [Bookseller: SOPHIA RARE BOOKS]
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        Le Rivage des Syrtes

      First edition, one of 40 numbered copies on vergé de Rives paper, tirage de tête.Midnight-blue morocco by P. L. Martin (dated 1958), pastedowns and endpapers of yellow-ochre calf, gilt fillet to edges of covers, gilt roulettes at head and foot, all edges gilt, covers and spine preserved, slipcase edged in midnight-blue morocco.The novel was awarded the Goncourt prize, turned down by the author. The previous year, in a pamphlet called "La Littérature à l'estomac [Literature in the Gut]", Gracq had denounced the commercial system surrounding literature, notably criticizing literary prizes.Provenance : library of R. & B. L. with ex libris.A handsome copy of Gracq's most famous novel in a splendid triple Jansenist binding by Pierre-Lucien Martin.               José Corti Paris 1951 In-8 (13x19cm) relié sous étui

      [Bookseller: Librairie Le Feu Follet]
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        Marie qui louche

      First edition, one of 100 numbered copies on pur fil, the only large paper copies.A good copy. Presses de la Cité Paris 1951 12x18,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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      Gallimard, Paris, 1951. - Deux volumes in-8 (23x14 cm), broché, plats habituels dans la collection « blanche » : lettres rouges et noires sur fond crème, le tout dans un triple encadrement rouge et noir, 496 pp pour le 1er tome, plus une table des chapitres, 519 pp pour le 2ème tome, avec une table des chapitres également. Nos exemplaires portent la mention (fictive ?) de 11ème édition, avec un Achevé d'imprimer le 14 décembre 1951, année de l'édition originale. Le roman se déroule sur 37 chapitres. Il constitue, comme on l'a dit souvent, un témoignage irremplaçable sur la France d'avant guerre, témoignage dont la grande valeur artistique a évidemment souffert des engagements politiques et idéologiques de son auteur , engagements que celui-ci a précisément développés dans son roman LES DECOMBRES, publié en 1942.Quoi qu'il en soit, la rareté de nos exemplaires vient de l' « envoi » écrit par Lucien REBATET sur la page de garde, envoi de 10 lignes où il évoque précisément, en quelques lignes, ses engagements passés et son évolution vers le troisième étendard, celui du drapeau noir.Les deux exemplaires sont dans l'état "bon" pour le 1er, médiocre pour le second, lequel présente quelques salissures sur le dos et un petit manque au pied. Le 1er tome est celui qui porte l'"envoi". [Attributes: First Edition; Soft Cover]

      [Bookseller: Dhouailly et Compagnie.]
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        Théorie des Distributions, I-II [all published].

      First edition Paris: Hermann & Cie, 1950-1951. A fine copy of his classic text on distribution theory. Distributions (or generalized functions) were first introduced by Sergei Sobolev in 1935, but it was Schwartz who systematically studied the subject and eventually developed it into a full theory with practical applications. In 1950 Schwartz was awarded the Fields Medal for his work on distributions. 2 vols. 8vo. Original printed wrappers. (2),148; 169,(3) pp. (Publications de l'Institut de Mathématique de l'Université de Strasbourg, nos. 9 and 10; Actualités Scientifiques et Industrielles, nos. 1091 and 1122).

      [Bookseller: SOPHIA RARE BOOKS]
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        Paul et Jean-Paul

      Grasset. First edition, one of 12 numbered copies on Montval, tirage de tête.A small tear, not serious, and repaired on foot of a joint.A rare and good copy. Grasset Paris 1951 17x22,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        The Catcher in the Rye

      Hamish Hamilton, 1951 A first edition, first printing published by Hamish Hamilton in 1951. A near fine book with one neat name to the front endpaper. Tip of the spine is slightly browned. In a very good unclipped wrapper which has a little light chipping to the head of the spine and to the corners. Small closed tear to the rear panel. A lovely copy in the iconic dust wrapper.

      [Bookseller: John Atkinson Books]
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        My Cousin Rachel


      [Bookseller: Maggs Bros. Ltd. ]
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        Le hussard sur le toit

      Gallimard. First edition, one of 210 numbered copies on vélin pur fil paper, the tirage de tête after 35 HollandeA fine, unsophisticated copy. Gallimard Paris 1951 14x21cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Bulletin of the British Museum (Natural History). Entomology. Vol. 1-57 [with] Supplement 1-26

      London: BM(NH), 1951-1988. 83 vols, numerous platesline drawings. Hardback. Fine set. Well bound in buckram (most with leather title-pieces to spines) - several similar styles; wrappers bound in. Last 4 volumes (54-57) in original parts as issued. From an institutuional library, with some neat ink stamps to wrappers/endpapers

      [Bookseller: Pemberley Books]
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        La chanson d'un gas qu'a mal tourné

      Société des amis des livres. Edition illustrated with 53 original lithographs Edmond Heuzé and 115 numbered copies printed on vellum Lana.Our copy is exceptionally enriched with four original color drawings of illustrator, four menus illustrated and signed by Edmond Heuzé well as a suite of 27 lithographs in black, most variations of colors.Tiny bites are not serious about the cover boards. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! Société des amis des livres Paris 1951 23x29,5cm en feuilles sous chemise et étui

      [Bookseller: Librairie Le Feu Follet]
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        Mythologie de crève-coeur

      Imp. Almadinah. First edition of 100 copies.Inscribed by Malcolm de Chazal to Robert Kanters.Lighlty folded on the upper cover and first pages, not serious, otherwise a good copy.Rare. Imp. Almadinah Port-Louis 1951 15x21cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Le ressassement éternel

      Les éditions de minuit. Original, one of 990 copies Ghaldwill Edition, only leading copies after 10 pure fil.binding half maoquin blue, smooth back, when golden tail, covered with marbled paper, guards and contreplats blue paper covers and spine preserved ( slightly back and irradiated with small gaps filled), gilded head, binding signed Goy & Vilaine.Exceptionnel and touching handwritten dedication signed by the author to his mother and to his sister: "To my very dear these pages, alas old well in any condition. Mauritius. / Before the beginning there was the new beginning which is a fascination of light, an image of anything and we empty the heart of the eternal rehashing ".Page false title which include the autograph dedication of the author slightly and marginally ombrée.Marguerite Blanchot, renowned organist Chalon Cathedral, remained all his life in the family home with his mother and aunt. "It will gradually become, for the family, as the memory of origins." Very close to Mauritius, she regularly corresponded with the writer who demonstrates her great recognition for his dedication to their helpless mother. If the intense affection Blanchot for his mother and sister shines in dedications of it, we know almost nothing about their relationship. In the only biographical essay on Blanchot, Christophe Bident reveals however: "Marguerite Maurice Blanchot worshiped his brother very proud of him, (...) it attached great importance to his political ideas (...) She read a lot (.... .) They phoned corresponded. Remotely, they shared the same natural authority, the same concern for discretion. " Blanchot address him indeed many books from his library, now with her continuous intellectual bond. As for the passion of Blanchot for his mother, it was the turn of his work that we discover the finest examples: "Maybe the power of the mother figure she borrows its radiance to the same power fascination, and one might say that if the mother carries this fascinating attraction is as appearing when the child lives entirely under the gaze of fascination, it concentrates in itself all the powers of enchantment ".Cultivant absolute discretion, Blanchot pushed the art of erasing into his handwritten dedications generally brief and almost always written on cards attached to rare books which he gave to his close friends. In contrast, in these precious autograph dedication of the authors to his mother and sister, Blanchot offers in all its fragility, revealing a hitherto unknown intimacy. Beautiful copy fully established. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! Les éditions de minuit Paris 1951 11,5x18,5cm relié

      [Bookseller: Librairie Le Feu Follet]
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        Requiem for a Nun

      1st Edition New York: Random House, 1951. SIGNED LIMITED FIRST EDITION, one of only 750 copies signed by Faulkner. Faulkner's first work after winning the Nobel Prize; a sequel to Sanctuary, written twenty years earlier. Adapted for the theater by Albert Camus in 1956.New York: Random House, 1951. Octavo, original black cloth over marbled boards. A fine copy. Fine.

      [Bookseller: The Manhattan Rare Book Company]
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        Molloy - Malone meurt - L'innommable

      Each the first edition on ordinary paper.The first two volumes inscribed by Beckett to his friend the painter Geer (Van Velde) and his wife Lise."What to say of the sliding planes, the shimmering contours, the cut-out figures in the fog, the balance that any little thing can break, breaking and re-forming themselves under our very eyes? How to talk about the colors that breathe and pant? Of the swarming stasis? Of this world without weight, without force, without shadow? Here everything moves, swims, fells, comes back, falls apart, re-forms. Everything stops, non-stop. One would say it's the revolt of the internal molecules of a stone a split second before its disintegration. That is literature" (The van Veldes' Art, or the World and the Trousers, in Cahiers d'Art n°11-12, Paris 1945).Beckett here is not talking - despite how it may appear - about his literary oeuvre, but about the paintings of Geer Van Velde, going on to add a few lines later "[Bram] Van Velde paints distance. G[eer] Van Velde paints succession." This elegy, published on the occasion of the double exhibition of the Van Veldes (Geer at Maeght's and Bram at the Galerie Mai) is the first important text on these painters, more or less unknown to the public at the time: "We've only just started spouting nonsense about the Van Velde brothers, and I'm the first. It's an honor." This is also the first critical text written directly in French by a young Irish writer who had not, as yet, published anything in France.Thus, the first and most important of Beckett's writings on art, composed at the dawn of his literary career, establishes - right from the start - a fundamental relationship between his developing work and his friends' art: "Thus this text has often been read in a hollow or in the mirror, as one of the rare designations of Beckett's poetry (to come) by the man himself, a sort of anamorphic program of writing," (Un pantalon cousu de fil blanc : Beckett et l'épreuve critique by Pierre Vilar).A real statement of dramaturgical intent, this fundamental text whose introspective value Beckett lays out from the introduction on ("one does nothing but tell stories with words") ushers in the writer's most fruitful creative period. In essence, like Apollinaire and Cendrars, Beckett draws from the artistic problems of his contemporaries the catalyst of his own future writing through "the deepest questioning of narrative, figurative or poetical presuppositions" (Pascale Casanova in Beckett l'abstracteur).The major influence of modern painting on the narrative structure - or destructuring - of Beckett's drama and novels would be pointed out and examined by a number of thinkers, among them Gilles Deleuze, Julia Kristeva and Maurice Blanchot. It was, in fact, with the art of the Van Veldes (first Geer then Bram) that Beckett began to formalize this desire to translate the pictorial question into dramaturgical terms. Thus it was that he rejected Nicolas de Staël's set design for Godot, since: "the set must come out of the text without adding anything to it. As for the visual comfort of the audience, you can imagine how much I care. Do you really think you can listen with the backdrop of Bram's set, or see anything other than him?" (Letter to Georges Duthuit, 1952).When he met Geer in 1937, "Beckett was going through a major existential crisis and had just been reworking his first novel, Murphy, which had been rejected by a great many publishers. He was lost in alcohol, leaving Ireland and moving once and for all to Paris" (Le Pictural dans l'œuvre de Beckett, Lassaad Jamoussi). He returned from a long artistic journey in Germany, where he was marked by classical works as well as contemporary art - it was during this journey that he discovered Caspar David Friedrich's Two Men Contemplating the Moon, his source for Waiting for Godot.Art was thus at the heart of his creative thinking and the friendship that would tie him to Geer and later his brother Bram and their sister Jacoba (with whom his relationship may have been more than merely friendly), and which would profoundly influence his life and writing. His first writing on art is a short piece on Geer Van Velde, whose works he pressed on his new lover Peggy Guggenheim when she set up her new London gallery. Despite the relative failure of the exhibition (which followed Kandinsky's), he got his friend a one-year scholarship from Peggy. James Knowlson even thinks that "if Beckett maintained close links with Peggy for a long time, it was first and foremost because she could be convinced to give his artist friends a serious helping hand, starting with Geer Van Velde" (in Beckett, p. 474). Enigmatic, the little piece that Beckett wrote at the time at Peggy's request already contained a dramaturgical kernel of thought: " Believes painting should mind its own business, i.e. colors. i.e no more say Picasso than Fabritius, Vermeer. Or inversely."   Slower to develop, his friendship with Bram and interest in the latter's painting slowly changed Beckett's outlook on Geer's art and when, ten years after his first meeting the brothers, he wrote The World and the Trousers,  Beckett brought up to date a duality symbolized by the title, taken from an anecdote given as a legend to the article. The world is the "imperfect" work of God, made in six days, to which the tailor compares the perfection of his trousers, made over six months.The link between this anecdote and the Van Velde brothers is perhaps to be found in the second essay Beckett devoted to them, in 1948, Peintres de l'empêchement [Painters of the Problem] (Derrière le miroir n° 11/12) : "One of them said: I cannot see the object in order to represent it because I am who I am. There are always two sorts of problems - the object-problem and the 'eye-problemGeer Van Velde is an artist of the former sortBram Van Velde of the latter."Resistance of the object or impotence of the artist, this tale, the "true primary narrative core in kôan zen form," (P. Vilar) would later find itself scattered throughout Beckett's work and would more specifically take centre stage in Endgame, whose similarity, by the by, with the art of Geer Van Velde was noted by Roger Blin. "At the time, he was friends with the Dutch brothers Geer and Bram Van Velde, both painters. Geer was a painter in the style of Mondrian. I have the feeling that Beckett saw Endgame as a painting by Mondrian with very tidy partitions, geometric separations and musical geometry," (R. Blin, Conversations avec Lynda Peskine in Revue d'Esthétique).    Beckett's growing affinity for Bram Van Velde's work and the energy he put into promoting his work, especially to the galerie Maeght or his friend the art historian Georges Duthuit, was no doubt to the detriment of his relationship with Geer. Nonetheless, despite some misunderstandings, their friendship remained unbroken; as did the silent but anxious dialogue that the writer maintained with the art of the younger Van Velde brother, two of whose large canvases he owned. "The big painting by Geer finally gave me a sign. Shame that it should have turned out so badly. But perhaps that's not true after all" (letter to Georges Duthuit, March 1950). "Geer shows great courage. Ideas that are a little cutting, but maybe only in appearance. I have always had a great respect for them. But not enough, I think" (letter to Mania Péron, August 1951)The death of Geer Van Velde in 1977 affected Beckett deeply and coincided with a period of intense nostalgia during which the writer decided to give himself over to "a great clear-out" of his house so as to live between "walls as grey as their owner." Confiding his state of mind to his friend, the stage designer Jocelyn Herbert, Beckett bore witness to the indefatigable affection he had nurtured for the painter over forty years: "more canvases on display, including the big Geer Van Velde behind the piano."A precious witness to the friendship of these fellow travelers who had, ever since checking the veracity of the game of chess played by Murphy and Mr. Endon for Beckett's first novel, tackled together the great challenges of modernity: "It's that, deep down, they don't care about painting. What they're interested in is the human condition. We'll come back to that" (Beckett on the Van Velder brothers in The World and the Trousers).Spine lightly sunned as usual for Molloy and L'Innomable, a tiny tear (not serious) to foot of spine of the latter.  Les éditions de minuit Paris 1951-1953 12x19cm 3 volumes brochés

      [Bookseller: Librairie Le Feu Follet]
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        Dons des féminines

      Les pas perdus. First edition, one of 350 numbered copies on vélin, the only printing along with 50 alfa.Illustrated, as frontispiece, with an original etching signed in the plate by Pablo Picasso.Preface by Paul Eluard, collages by Valentine Penrose.A slight trace of sunning and small tears to foot of the spine. Les pas perdus Paris 1951 25,5x33,5cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Mathematical Formulation of the Quantum Theory of Electromagnetic Interaction; An Operator Calculus Having Applications in Quantum Electrodynamics.

      First edition [Lancaster: American Phsyical Society], 1950;1951. Extremely rare offprints of Feynman's final two papers on quantum electrodynamics, in which he described the mathematical foundations of his techniques of path-integrals and Feynman diagrams. Feynman himself stated about these papers: "In these two papers, I put everything that I had done and thought should be published on the subject [i.e., quantum electrodynamics]. And that was the end of my published work in this field" (quoted in Mehra, The Beat of a Different Drum, p. 325). We are not aware of any other offprints of any of Feynman's papers on quantum electrodynamics having appeared on the market; no copies on OCLC. "While Feynman made many original and imaginative contributions to theoretical physics, it may well be that his place in the history of science will be largely based on his approach to renormalizing quantum electrodynamics, and especially on the tools that he invented to accomplish that goal, such as path integrals, the operator calculus, and the famous Feynman diagrams" (Selected Papers, p. 7). "Nobody but Dick [Feynman] could use his theory, because he was always invoking his intuition to make up the rules of the game as he went along. Until the rules were codified and made mathematically precise, I could not call it a theory" (Freeman Dyson, quoted in David Kaiser, Pedagogy and the Practice of Science). "In 1950-51 Richard Feynman wrote two papers in which he described the mathematical formulation of his method in quantum electrodynamics [the offered papers]... In the 1950 paper Feynman used the methods of his Ph.D. thesis and his 1948 paper in the Reviews of Modern Physics ['Space-Time Approach to Non-Relativistic Quantum Mechanics'] to derive the basic equations and principles of his method. In the second paper, Feynman gave further development of the formalism and discussed the new idea of how to proceed with non-commuting quantities... In these articles, besides deriving the old formulas, Feynman obtained new relations and derivations, and invented new approaches to solve different mathematical problems in quantum mechanics and quantum field theory... "In ['Mathematical formulation...'], Feynman established the validity of the rules given in previous papers for the solution of problems in quantum electrodynamics. Starting with Fermi's formulation of the field as a set of harmonic oscillators, he integrated out the effect of the oscillators in the Lagrangian form of quantum mechanics. There resulted an expression for the effect of all virtual photons valid to all orders in e2/hc. Feynman showed that the evaluation of the expression as a power series in e2/hc gives just the terms expected by the aforementioned rules. In addition, Feynman established a relation between the amplitude for a given process in an arbitrary unquantized potential and in a quantum electrodynamical field. This relation permitted a simple general statement of the laws of quantum electrodynamics" (Mehra, pp. 301-2). "Feynman's 1951 article ['An operator calculus'] was extremely rich in new mathematical ideas and inventions which he proposed to use in quantum theory, especially in quantum electrodynamics... The main new mathematical idea in this article was the introduction and development of the new operator algebra which originated from Feynman's Ph.D. thesis and his 1948 paper in the Reviews of Modern Physics" (Mehra, p. 307). "In 1951, Feynman completed his work on quantum electrodynamics, describing and applying a new operator calculus for operators dependent on a continuous parameter (such as the time), which describes the ordering of application of the generally non-commuting operators. Using the ordering parameter, the ordinary methods of calculus (integration and power series expansions, for example) can be carried through without regard to the ordering until the final result, which is then appropriately reordered" (Selected Papers, p. 174). Feynman himself stated about this paper: 'I felt it was important. In the years since I had invented it [quantum electrodynamics] I had accumulated a whole lot of debris. For instance, I had noticed certain ways of representing spin-0 particles with path integrals, I had the operator calculus, and a whole lot of other things which I did not know where to put. Most of it was, of course, the operator calculus, but in the various appendices I included a whole variety of other things. With this paper I disgorged myself of all the things I had thought about in the context of quantum electrodynamics; this was an entire backlog of valuable things. I still think that the central item, the operator calculus, is an important invention. With this paper I had completed the project on quantum electrodynamics. I didn't have anything else that required publishing' (quoted in Mehra, p. 325). Quantum electrodynamics is the quantum theory of the interactions between electrically charged particles and the electromagnetic field (between electrons, positrons and photons, for example). It has been called "the jewel of physics" because of the extreme accuracy of its predictions: for example, the value of the magnetic moment of the electron calculated from quantum electrodynamics agrees with the measured value to within a few parts in 100,000,000,000. Quantum electrodynamics was born in 1928, with Dirac's paper 'The quantum theory of the emission and absorption of radiation.' Although a major advance, this theory, and its development over the next decade by Fermi, Heisenberg, Jordan, Pauli and others, encountered serious difficulties: it predicted an infinite self-energy for the electron, and several other such 'divergences' (analogous difficulties were already well known in classical electrodynamics). The solution to these problems was provided independently by Feynman, Julian Schwinger and Sin-Itiro Tomonaga, to whom the 1965 Nobel Prize in physics was awarded "for their fundamental work in quantum electrodynamics, with deep-ploughing consequences for the physics of elementary particles." These offprints derive from the estate of an officer of the Press Office of the Physics Department at Caltech. 4to (267 x 200 mm), two seperate offprints from The Physical Review, Second Series, Volume 80, Number 3, pp. 440-457, November 1, 1950; Vol. 84, no. 1, pp. 108-128, October 1, 1951. Self-wrappers, stapled as issued (punch holes in inner margin filled, not affecting text).

      [Bookseller: SOPHIA RARE BOOKS]
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        A Change of World.

      New Haven, CT: Yale University Press,, 1951. With a Foreword by W. H. Auden. Octavo. Original pink boards, titles to front cover in brown. With the dust jacket. A fine copy. First edition, first printing of 551 copies, with a reprint in the same year of further 503 copies. This is Rich's first published work, and is Volume 48 of The Yale Series of Younger Poets. The Yale Series of Younger Poets Competition is an annual event which publishes the first collection of a promising American poet. Auden chose the winners and edited the series between 1947 and 1959. The contest was founded in 1919 and is the oldest annual literary award in the United States.

      [Bookseller: Peter Harrington]
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        Hidden Valley Of Oz.

      Chicago: The Reilly & Lee Co., 1951 - Octavo. Original bue cloth, pictorial title panel to front cover, spine lettered and stamped in black, pictorial endpapers. With the dust jacket. An excellent copy. Illustrated by Dirk Gringhuis First edition, first printing, first state with all issue points as called for. 39th title in the Oz series. Hanff/Greene. 118 [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        A Question of Upbringing

      London: William Heinemann Ltd,, 1951. A Novel. Octavo. Original red cloth, titles to spine gilt on black panel. With the dust jacket. Ownership signature to front pastedown. Spine gently rolled, some light marks and rubbing to covers, edges of text block foxed, small marginal mark to p. 120. A very good copy in the jacket with some short closed tears and small chips to extremities, tape repairs to verso, a little loss to spine ends. First edition, first impression. From the library of Dr Philip Murray, Irish book collector and author of The Adventures of a Book Collector (2011), though unmarked as such.

      [Bookseller: Peter Harrington]
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        LA POLOGNE

      EDITIONS SOCIALES, Paris 1951 - Francese Volume intonso, pagine brunite da fattore tempo, coperta morbida con la parte posteriore mancante, dorso ingiallito e con segni di usura, usura anche ai bordi La libreria offre per un periodo limitato uno sconto del 20% su tutti i suoi libri. Il prezzo originale dell'articolo era 999,00 euro.

      [Bookseller: Biblioteca di Babele]
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        Bestie del 900. Con tavole incise in nero e a colori di Mino Maccari

      Vallecchi, Firenze 1951 - Piccolo rinforzo cartaceo all'interno della sovraccoperta (cm. 1x3), ottimo stato generale di conservazione, completo di scheda bibliografica editoriale 172 con 30 tavv a colori e 16 disegni in nero p. 195x270

      [Bookseller: Libreria Antiquaria Giulio Cesare]
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        Mystery And Realities Of The Site

      1951 - Inscribed by Neutra to Hugh Mercer Jr!

      [Bookseller: The Cary Collection]
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        The Sands of Mars

      London: Sidgwick and Jackson, 1951 First British edition. Signed on the front end page by the author. Not bumped, no tears, not price-clipped. Pages are yellowed, and spine of dust jacket has had some sun fading and rear of jacket is lightly soiled. Still, a very handsome copy overall. Comes in an archival cover. All books are bubble wrapped and shipped in a sturdy corrugated box. Orders are normally mailed within 24 hours.

      [Bookseller: Centigrade 233]
 24.   Check availability:     IOBABooks     Link/Print  

        The Catcher in the Rye

      London: Hamish Hamilton,, 1951. Octavo. Original blue boards, spine lettered in silver. With the dust jacket. Some nicks and tears to dust jacket extremities, case spine a little rolled, a very good copy. First UK edition, first impression. It was originally published in the US earlier the same year.

      [Bookseller: Peter Harrington]
 25.   Check availability:     Biblio     Link/Print  

        The Memoirs of Hebert Hoover: Years of Adventure 1874-1920; The Cabinet and the Presidency 1920-1933; The Great Depression 1929-1941: Three Volume Complete Set.

      New York: MacMillan, 1951-1952. First editions of each volume in the Hoover's memoirs. Octavo, 3 volumes. Each volume is signed by Herbert Hoover. Each are near fine in very good to near fine dust jackets. Includes: Volume One: Years of Adventure 1874-1920; The Cabinet and the Presidency 1920-1933; The Great Depression 1929-1941. An exceptional set, uncommon signed and inscribed and in the first printing. "It is doubtful if any other American public figure of comparable position has written any autobiographical fragment with anything like its unstudied and natural literary quality....His book is genuinely historic" (Newsweek).

      [Bookseller: Raptis Rare Books ]
 26.   Check availability:     ABAA     Link/Print  

        The Catcher in the Rye.

      London: Hamish Hamilton, 1951 - Octavo. Original blue boards, spine lettered in silver. With the dust jacket. Some nicks and tears to dust jacket extremities, case spine a little rolled, a very good copy. First UK edition, first impression. It was originally published in the US earlier the same year. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
 27.   Check availability:     ZVAB     Link/Print  

        The Puppet Masters

      Doubleday & Company, Inc. New York 1951 - First Edition, First Printing. This copy is SIGNED by Robert Heinlein on a laid in signature. This ORIGINAL First Issue dustjacket is vibrant in color with minor wear to the edges. The book is great shape. The binding is tight with NO cocking or leaning and the boards are crisp with slight wear to the edges. The pages are clean with NO writing, marks or bookplates in the book. A superb copy of this TRUE FIRST EDITION SIGNED by the author. We buy SIGNED Heinlein First Editions. [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: Quintessential Rare Books, LLC]
 28.   Check availability:     AbeBooks     Link/Print  

        Jaridat al Ahram, Tarikh Misr fi khamsin wa sab'ina sana (al- Ahram news paper, history of Egypt in 75 years), dedication copy to Ahmad Naguib al- Hilaly Pasha, the last Egyptian prime minister during the royal dynasty (prime minister of the 18 hours)

      Cairo: al- Ma'arif press, 1951 Book. Very Good. Hardcover. Signed by Author(s). 1st Edition. 4to - over 9¾ - 12" tall. Inscribed by the author to Ahmad Naguib al- Hilali Pasha and dated 1- June 1951. 552 p. Arabic text including many full page photographic illustrations on fine paper. The author was the professor of the Jurnalism history in the faculty of arts in the Egyptian University (Fouad I University). Original loosed hard covers. The most important expanded known work about the subject in Arabic..

      [Bookseller: Archive]
 29.   Check availability:     Biblio     Link/Print  

        They Came to Baghdad

      London: The Crime Club, 1951. First edition, first impression. Not Set. Octavo. Original red cloth, titles to spine in black Very good. With the author's signed presentation inscription to the front free endpaper, "To Dorothy (belatedly!) from Agatha"

      [Bookseller: Blakeney Griffin Booksellers Ltd]
 30.   Check availability:     Biblio     Link/Print  

        Inscribed photographic portrait.

      London: Vivienne, 20th Century Studios, [1951] - In fine condition. Silver gelatin print (196 x 155 mm) showing Churchill seated half-length in black formal jacket and bow-tie. Mounted, glazed and presented in a wooden frame (430 x 330 mm). Inscribed by Churchill on the mount: "To James Dunn from his friend of many years, Winston S. Churchill". James Dunn (1874–1956) was a Canadian industrialist and financier. He worked with Churchill during the First World War when he helped supply nickel from Norway. He was a man of great wealth and many eccentricities, such as having his shoe laces ironed, and commissioning thirteen different portraits of himself, including one by Salvador Dali. Photographer Florence Vivienne Mellish, known simply as Vivienne, was one of the leading society photographers of the mid 20th century. Her son also found success with society and show-business portraits, moving to Hollywood, and in 1949 marrying Churchill's actress daughter Sarah; "unfortunately Churchill and his wife learned of the marriage, which took place in the United States, from the newspapers, journalists having been speedier with the news than Sarah's own telegram" (Gilbert, Churchill, VIII, p. 496). At first both parents, but particularly Clementine "took it very hard indeed", but later "all was resolved. 'We have made friends with Antony's father and mother,' Clementine wrote to Sarah on December 20 [1949], 'and we had an agreeable luncheon together'". Subsequently Vivienne took Churchill's portrait many times, at her studio, and at Chartwell. More than 200 of her photographs are held in the National Portrait Gallery. With the photographer's stamp, "Vivienne, 20th Century Studios", and 10 Downing Street label dated 25 March 1954 on the verso of the print.

      [Bookseller: Peter Harrington. ABA member]
 31.   Check availability:     ZVAB     Link/Print  

        The Foundation Trilogy -- Foundation, Foundation and Empire and Second Foundation

      This listing is for the First State, First Printings of the FOUNDATION TRIOLOGY, a set of three fine condition stated first edition books by Asimov. With publication dates of 1951 for FOUNDATION, 1952 for FOUNDATION AND EMPIRE, and 1953 for SECOND FOUNDATION. Published by Gnome Press, New York. A handsome set of this trilogy consisting of fine first state dust jackets, and fine first edition books. Housed in a custom-made collector's slipcase.

      [Bookseller: Bookbid Rare Books]
 32.   Check availability:     Biblio     Link/Print  

        Personnage dans un jardin IV. Original-Farblithographie auf Velin. Signiert, datiert und nummeriert. Exemplar 72/75

      Format (Bildbereich): 36,5 x 58,8 cm. (Blattgröße 50 x 65 cm). Unter Passepartout, Gerahmt in Galerieleiste unter Glas. *Originale Lithographie der Edition Maeght in einer Auflage von 75 numerierten Abzügen. Rechts unten handsigniert in Bleistift und datiert 1951, links unten in Bleistift numeriert "72/75". - Tadellos erhalten.

      [Bookseller: Antiquariat Bernd Braun]
 33.   Check availability:     Link/Print  

        Ansel Adams, struggling with finances and his father's illness, suggests a possible business venture, "We desperately need someone hereabouts to take up the task of encouraging people to purchase original prints and Portfolios...I guess I mean a type of 'creative agent'..."

      San Francisco, California, Aug - Nov 1951. 5.5” X 3.25”,8.5” X 11”,8.5” X 11”. "Archive Consisting of Two Typed Letters Signed, and One Postcard Signed from the period August 1951 – November 1951. (1) Typed Postcard Signed, “Ansel Adams”, August 7, 1951, one page, 5.5” X 3.25”, on printed “Ansel Adams” postcard, San Francisco, California, with unused printed “Ansel Adams” reply envelope. Addressed to “C.P.” [Chappie Packard]. Referring to the Portfolios in a previous letter, Adams writes, “Due to my father’s illness and other pressing matters it would be very helpful if you could pick the Portfolios up here…I suggest you call for them within this week; we do not know what will occur, and I may have to leave on a trip…” Adams’ mother had died March 22, 1950 with both Adams’ father, Charlie [Charles Hitchcock Adams], and Ansel by her side. Adams’ father never recovered from this loss, and died August 9, 1951, just two days after this postcard was written. Adams confessed in a letter to friends that he cried for the first time in his life when his father died. Light soiling and the usual folds; else fine condition. (2) Typed Letter Signed, “Ansel Adams”, November 5, 1951, one page, 8.5” X 11”, on printed “Ansel Adams Photography” stationery, San Francisco, California, with mailing envelope. Addressed to “Chappie Packard.” Adams thanks Packard for selling the Portfolios, “I am delighted that you had the display of the Two Portfolios, and am naturally much pleased that you disposed of them. / I regret that I did not take the numbers of the Portfolios – I should have these for my records – and the names of the purchasers as well – if possible and convenient for you to obtain them for me.” Adams tells Packard of an upcoming housewarming he will be invited to at his renovated “studio-residence."" “…I would take great pleasure is [sic] having you come over and see all the prints I have available. Unfortunately, my printing has suffered – in quantity especially – over the past several years, and I do not have too much to show. Most of my best work just was shipped off to the Art Institute of Chicago for an exhibit opening there November 15th. It then goes on to George Eastman House in Rochester. But I hope to get into the routine of creative printing soon!” Light toning and soiling to envelope, else fine condition with no tears. Letter is in very fine condition. (3) Typed Letter Signed, “Ansel Adams”, November 14, 1951, one page, 8.5” X 11”, on printed “Ansel Adams Photography” stationery, San Francisco, California, with unmatched mailing envelope to “Mr. H.C. Packard”, postdated March 4, 1950. An insightful letter from Ansel Adams as he admits he has difficulty promoting and selling his own work. He invites Chappie Packard to “think about” a relationship where Adams would create prints and photographs and Packard would be the “creative agent” to promote and sell them. In part, “…it seems that if you display prints, and can sell them, that you evidence a very considerable potential for service! And, of course, I infer that you should benefit thereby, too…We desperately need someone hereabouts to take up the task of encouraging people to purchase original prints and Portfolios…it is..the need for a dynamic approach …I guess I mean a type of ‘creative agent’…my bottleneck is entirely within the ‘sales’ (promotional) sphere…I am sure it would be a satisfying and profitable venture. Think about it…” According to author Mary Alinder in her biography of Adams, “Money had always been Ansel’s Achilles’ heel, and he had to scramble for it most of his life.” Light soiling and ragged upped edge to envelope. Typed Letter has the usual folds, else very fine condition. During the Depression, the Farm Security Administration (F.S.A.) hired photographers to document American rural life. In the 1930’s, Dorothea Lange was an F.S.A. photographer and Ansel Adams printed her photographs for her while she was out in the field in order to get feedback before they were sent to Washington, D.C. Chappie Packard worked in the California regional office of the F.S.A. during that time, so this may have been how the relationship between Packard and Adams began"

      [Bookseller: University Archives]
 34.   Check availability:     Biblio     Link/Print  

        The Caine Mutiny

      New York: Doubleday and Co., 1951 First edition, in the first state dust jacket with "The City Boy" to the rear panel. Publisher's blue cloth, lettered in metallic silver, pictorial endpapers illustrated with a map of the Caine's journey from September 1943 - December 1944; in the original pictorial dust jacket, illustrated with a painting by John Hull, lettered in white, yellow and black. A bright copy, with a sturdy spine, only a hint of light wear to the extremities, else fine; unclipped dust jacket, with a closed split to the bottom two-thirds of the spine at the front panel, two short losses to the rear panel (not affecting title lettering), a few minor chips to the spine ends, very minor dimming to the spine, some light rubbing to the extremities. Overall, a handsome copy in the first-issue dust jacket, free of any repairs or restorations. The Caine Mutiny is Herman Wouk's best-know novel and the winner of the 1952 Pulitzer Prize for Literature. Based on the authors' wartime experiences on a minesweeper in the Pacific Theater, it tells the story of the misguidance, resulting mutiny, and tumultuous weather that challenged the U.S.S. Caine and its crew during the later years of World War II. Notably, in 1954, The Caine Mutiny was adapted into a film of the same name starring Humphrey Bogart as the contemptable, mutiny-inspiring Captain Phillip Francis Queeg.. 1st Edition.. Hardcover. Very Good/Dust Jacket Included.

      [Bookseller: B & B Rare Books, Ltd., ABAA]
 35.   Check availability:     Biblio     Link/Print  


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