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

        Dons des féminines

      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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        The Country Girl A Play in Three Acts

      Viking, NY 1951 - Yellow cloth titled in red, red topstain. First edition. Inscribed to the ffep by Odets with date. Spine ends/corners slightly softened else a square tight unmarked copy. The DJ in mylar with flap price of $2.50 is toned at spine, mildly edgeworn. ; 8vo 8" - 9" tall; Signed by Author [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: curtis paul books, inc.]
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        Le Voyage de Marco Polo.

      Paris: Aux Depens des Yachtsmen Bibliophiles, 1951. Two volumes, quarto, engraved title in red and black, wove paper, 30 copper plate engravings including two frontispieces, many lino-cut tail-pieces, one map; unbound, uncut sheets in stiff printed paper wrappers, parchment folders and slipcase. An attractive private press edition of the voyages of Marco Polo: one of 224 copies published, with 30 copper plate engravings by the French artist André Collot (he illustrated other works as various as Lady Chatterley's Lover). The historian Albert Mirot (1902-1984) came from a family of archivists and is best known for his collaboration with his father in writing The Historical Guide of the Streets of Paris (1979). Some minor wear, some foxing to paper wrappers but very good.

      [Bookseller: Hordern House]
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        The Years of Endurance 1793-1802 & Years of Victory 1802-1812 & The Age of Elegance 1812-1822 & English Saga 1840-1940.

      4 vols., 8-1/2" x 5-7/8". Bound in 1/2 light blue morocco, ribbed gilt decorated spines, top edges gilt, marbled pastedowns and endpapers.

      [Bookseller: D & D Galleries]
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        THE BOXER (4TH ED., 1951)

      Judi Publ. Co.. Hardcover. B003OF311S HB, 1951, 4th edition. Ships next day. Book is in fair shape, no tears, scribbles, highlighting or underlining, has a name inside, has a water stain, a little general wear, has a little bit of a peppery smell. Items are typically shipped in a plastic bag, in a cardboard cradle, in a manila envelope. Most of my customers rave about my packaging. All US items are shipped with delivery confirmation, if you require this, please let me know. . Fair.

      [Bookseller: Tulsabookfinder]
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        Mutable Loci in Maize

      Annual Report of the Director of the Department of Genetics, Carnegie Institution of Washington Year Book No. 50 for 1950-51, pp. 174-181, Dec. 14 1951 - Very good condition. First edition. Offprint. Original wrappers. Ownership stamp of Norman H. Giles on front cover.* Genetics. Nobel Prize. Ink date and name of author on front cover at top left corner. Quality, Value, Experience. Media Shipped in New Boxes. [Attributes: First Edition; Soft Cover]

      [Bookseller: Robinson Street Books, IOBA]
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        National Institute of Genetics (Japan) Annual Reports 20 issues

      National Institute of Genetics, Japen, various. PAPERBACK. Annual Reports beginning with No. 2 1951 contains also Nos: 3, 4, 5, 6, 7, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23 (1972). One issue has the stamp of L.C. Dunn (1893-1974) a Developmental Geneticist at Columbia University. Several copies have what appear to be his initials in ink on front cover, a few have pages marked. A few copies have spine tears but overall in very good condition. Mostly around 120 pages, with illust.. 20 issues overall. * . Very Good.

      [Bookseller: Robinson Street Books, IOBA]
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        La flamme

      First edition in French of which there were no large paper copies.Publisher's cream-colored paper boards, retaining its illustrated dust jacket (small tears and insignificant lacks to edges).Rare autograph inscription signed by John Steinbeck to mademoiselle de La Fouchardière. Del Duca Paris 1951 13,5x21cm reliure de l'éditeur

      [Bookseller: Librairie Le Feu Follet]
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        Le poids du monde

      First edition, one of 15 copies numbered and justified by Tristan Tzara, the only large paper copies. Inscribed, dated, and signed by Tristan Tzara at head of first page of text. One small trace of lateral folding to lower cover. A good and rare copy. Au colporteur Saint-Girons 1951 11x14cm agrafé

      [Bookseller: Librairie Le Feu Follet]
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        The End of the Affair - a superb copy

      Heinemann, 1951 A first edition, first printing published by Heinemann in 1951. A fine book without inscriptions. Internally very clean indeed. The faintest mark to the top edge of the pages. In a nearly fine unclipped wrapper with ABSOLUTELY NO LOSS to the wrapper. Two minor nicks and a hint of some light handling marks to the rear panel. The best copy you could wish to find.

      [Bookseller: John Atkinson Books]
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        The Wind in the Willows. Illustrations by Arthur Rackham. Introduction by A.A. Milne.

      London: Methuen and Co., 1951. 100th Edition, LIMITED TO 500 COPIES, this being no. 361. With 12 mounted colour and numerous black and white illustrations, printed on handmade paper. Original full white calf, titles to spine gilt, top edge gilt, other edges untrimmed. A presentable copy with a few marks to boards, bumped at foot, gift note to flyleaf, without the slipcase. A pleasing copy.

      [Bookseller: Adrian Harrington]
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        Green Hills of Earth, The

      Chicago Shasta Publishers 1951 First Edition (so stated). 8vo: [10], 11-256pp. Quarter-bound in black cloth lettered in gilt with green paper-covered covers and "time line" end papers; in a pictorial dust jacket, priced $3.00, brilliantly illustrated by Hubert Rogers. A Fine copy, tightly bound, with bright, clean boards and crisp, unread pages; in a pristine jacket. Truly superlative. Fine A collection of 10 Future History stories (some of which are charted on the book's 'timeline' end papers), most of which Heinlein wrote early in his career, between 1939-1941 and between 1945-1950, describing a projected future of the human race from the middle of the 20th century through the early 23rd century. Note: With few exceptions (always identified), we only stock books in exceptional condition, with dust jackets carefully preserved in archival, removable polypropylene sleeves. All orders are packaged with care and posted promptly. Satisfaction guaranteed.

      [Bookseller: Fine Editions Ltd]
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        Première anthologie vivante de la poésie du passé

      First edition on ordinary paper.Handsome autograph inscription from Paul Eluard to Raymond Queneau on the first volume: "... ce livre qui nous rajeunit...[...this book that makes us young again...]" Pierre Seghers Paris 1951 14x19,5cm 2 volumes brochés

      [Bookseller: Librairie Le Feu Follet]
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        Hard Not to be King

      New York: House of Books, Ltd, 1951. First Edition. Hardcover. Very Good. Signed. First edition. Copy number 138 of a limited 300 copies, signed by Robert Frost. Very Good with heavy fading to cloth at spine, and foxing to top edge of page block. Else a rather nice copy lacking the un-printed tissue dust jacket.

      [Bookseller: Burnside Rare Books]
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        Le rivage des syrtes

      Published the same year as the first edition. Autograph inscription signed by Julien Gracq to the journalist Jean-Claude Lamy and his wife Fabienne Deval.Two small tears glued down to head and foot of spine. José Corti Paris 1951 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        Plain Murder

      London: Michael Joseph. 1951. FORESTER FAMILY COPY. 8vo. Reprint edition. Publisher's cloth in unclipped dustwrapper. Some moderate edgewear; very good. With signed ex-libris from the Forester and Troughton-Smith Family Archive to front pastedown. Inscribed by Forester to his nephew Stephen to front flyleaf: "To Stephen/ with best wishes from his reluctant uncle / C. S. Forester"Cecil Louis Troughton Smith wrote adventure stories under the pen name Cecil Scott Forester. Brought up in England, much of Forester's writing life was spent in California, a sufferer from arteriosclerosis and a partial invalid, sadly ironic for a man who had created one of the most distinctive and popular action heroes in the form of Horatio Hornblower. Forester married his second wife Dorothy, in 1947 and they lived in California until Forester's death in 1966. Having remained close to Forester's nephew; Mr. Stephen Troughton-Smith, who had a close relationship with his uncle, Dorothy eventually ended up living with Stephen and his family in Sussex after she became too frail to cope on her own. After her death in 1998 her Forester related books, correspondance and ephemera were bequeathed to Stephen Troughton-Smith who combined them with his own material to form the Forester Troughton Smith family archive. After his death the archive arrived in auction. Toovey's Auctioneers 21/02/2012.

      [Bookseller: Adrian Harrington]
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        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'." (qss.stanford.edu/~godfrey/Morgenstern/prolegom.pdf). 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 https://sites.google.com/site/michaeldgodfrey/other 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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        LES DEUX ETENDARDS

      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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        From Here to Eternity

      New York: Charles Scribner's Sons, 1951. 861 pages. Octavo (8 1/2" x 6") bound in original publisher's black cloth with gilt lettering to spine. Inscribed by the author. First printing, with 'A' on copyright page, first issue jacket with authors photo on rear panel rather than reviews found on later issue jackets.Jones' first book, basis for the 1953 film starring Montgomery Clift, Burt Lancaster, and Frank Sinatra.From Here to Eternity is the debut novel of American author James Jones, published by Scribner's in 1951. It is loosely based on Jones' experiences in the pre-World War II Hawaiian Division's 27th Infantry and the unit in which he served, Company E ("The Boxing Company"). Fellow company member Hal Gould said that while the novel was based on the company, including some depictions of actual persons, the characters are fictional and both the harsh conditions and described events are inventions. From Here to Eternity won the National Book Award and was named one of the 100 Best Novels of the 20th century by the Modern Library Board. There were three screen adaptations.Condition:Inscribed by the author on the front free endpaper. A stamp on the front free endpaper reading "Book No" with the number 1035 in holograph but this is the trade edition not the "Presentation Edition". Jacket lightly edge worn; small tears to cloth at head of spine; book and jacket very good.

      [Bookseller: The Book Collector ]
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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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        Faster Than Thought: The Ferranti Nimrod Digital Computer.

      Hollinwood, Lancashire, 1951 - 12mo (180 x 105 mm), pp 40; a fine copy in original printed olive green wrappers, stapled as issued. First edition of the first book dedicated to a computer game, although the real purpose was to advertise the power of Ferranti's computer. Ferranti's NIMROD was the first computer purpose-built to play a game - the ancient mathematical logic challenge NIM, which involves complex game theory. It was built for the 1951 Festival of Britain and unveiled there, a colossal 12 bx 9 x 5 foot machine. The public were encouraged to play, and one famous visitor's experience is recounted in the following anecdote by Alan Turing's biographer Andrew Hodges: 'Alan spent August 1951 at Cambridge as usual, and from there a party went down on the train to London for the Festival of Britain. They went to the Science Museum in South Kensington where the science and technology exhibits were housed. They came across the NIMROD, which Ferranti were exhibiting. The Ferranti people were pleased to see Alan and said, "Oh Dr Turing, would you like to play the machine?" which of course he did, and knowing the rule himself, he managed to win. The machine dutifully flashed up MACHINE LOSES in lights, but then went into a distinctly Turingesque sulk, refusing to come to a stop and flashing MACHINE WINS instead. Alan was delighted at having elicited such human behaviour from a machine.' Turing was an obvious candidate for the game, having just published in Mind his landmark paper 'Computing Machinery and Intelligence' which famously defines artificial intelligence and sets forth the Turing Test.The present booklet contains a detailed description of the game and the working of the computer, as well as a survey of work on machine intelligence at the time. The text notes that 'the theory of games is extremely complex and a machine that can play a complex game can also be programmed to carry out very complex practical problems . very similar to those required to examine the economies of a country in which neither a state of monopoly nor of free trade exists' (p 19).Provenance: with an original Festival of Britain bookmark loosely laid in (advertising the London book dealer Richard York, whence presumably this copy)not in Hook and Norman; WorldCat locates copies at the NYPL and the British Library only; there is also one further copy in the United Kingdom (University of Cambridge Computing Laboratory) [Attributes: Soft Cover]

      [Bookseller: WP Watson Antiquarian Books]
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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]
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