The viaLibri website requires cookies to work properly. You can find more information in our Terms of Service and Privacy Policy.

Displayed below are some selected recent viaLibri matches for books published in 1953

        Raoul Dufy. A Note

      [New York: Pierre Bères, 1953. First edition, #6 of 200 copies on handmade Arnold paper printed by the Ram Press. 1 vols. Oblong 4to. Blue wrappers. Fine. First edition, #6 of 200 copies on handmade Arnold paper printed by the Ram Press. 1 vols. Oblong 4to. Edelstein A20

      [Bookseller: James Cummins Bookseller]
 1.   Check availability:     Biblio     Link/Print  


        Primates.Comparative Anatomy and Taxonomy. A Monograph in 8 volumes., Vol I: Strepsirhini, Vol II: Hapolorhini: Tarsioidea, Vol III: Pithecoidea: Platyrrhini: Hapalidae, Vol IV: Cebidae, Part A, Vol V: Cebidae,Part B, Vol VI: Catarrhini: Cercopithecoidea, Cercopithecinae, Vol. VII: Cynopithecinae: Cercocebus, Macaca, Cynopithecus, Vol .VIII: Cynopithecinae: Papio, Mandrillus, Theropithecus .

      Edinburgh, University Press, 1953 - 1970. - 798pp., 347pp., 354pp., 523pp., 537pp., 757pp., 934pp., 671pp.; goldingrave on spine, Library copies, hence library stamps on the fly leafs and the title pages , libray lables on the book spines (exept Vol II:) The volumes contain several maps and plats, apart from that all eight volumes in good condition Sprache: Englisch Gewicht in Gramm: 9999 [Attributes: First Edition; Hard Cover]

      [Bookseller: Antiquariat Buchseite]
 2.   Check availability:     AbeBooks     Link/Print  


        The St. Louis Zoo Album (Hornbill, Gorilla, verkleideter Schimpanse)

      Saint Louis 1953 - 22,5 x 30 cm 88 Seiten 400 gr. Einband vollst?ndig von Innenteil gel÷st, abgerieben [Attributes: Soft Cover]

      [Bookseller: Schueling Buchkurier]
 3.   Check availability:     IberLibro     Link/Print  


        Dwight D. Eisenhower Signed White House Invitation Card ? Suitable Replacement for a White House card!

      Washington, DC, May 12, 1953. 5" x 4". "Partly Engraved Card Signed ?Dwight D. Eisenhower? as President, 5? x 4?. Fine condition. Gilt Presidential Seal at top center. Completed in calligraphy. With original 5? x 4? envelope with ?The White House? engraved in gilt. Addressed in unknown hand ?Hon. Louis B. Heller / House of Representatives.? Mounting stains on verso of each. Fine condition. In full, ?The President / requests the pleasure of the company of / Mr. Heller / at luncheon / on Tuesday, May 12, 1953 / at one o?clock.? On Tuesday afternoon, May 12, 1953, President Eisenhower held the last in a series of 25 luncheons so that he could meet members of Congress on an ?informal basis.? Congressman Louis Heller was one of 11 Representatives and 7 Senators invited. He was the only New Yorker and one of the 12 Democrats of the 17 members of Congress invited. Ostensibly, Congressman Heller asked President Eisenhower to sign his invitation at the luncheon. First elected to Congress to fill a vacancy, Democrat Louis Benjamin Heller (1905-1993) represented Brooklyn, New York, in the House of Representatives from 1949 until he resigned in 1954 when he was appointed an Associate Justice of the Court of Special Sessions of New York City. He served until 1958 when he was elected a Justice of the City Court of the City of New York (1958-1966), and later Judge of the Supreme Court of the State of New York (1966-1977). "

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


        Fahrenheit 451

      Ballantine Books, New York 1953 - Near fine signed first edition. Signed/dated by Bradbury to title page (4/13/98) . Spine ends/corners lightly rubbed. Small dampstain to spine foot. Sound, square unmarked copy. The DJ with price is toned at spine, with small chip to spine head and dampstain to spine foot. This volume is housed in a fine custom clamshell case. ; 8vo 8" - 9" tall; Signed by Author [Attributes: First Edition; Hard Cover]

      [Bookseller: curtis paul books, inc.]
 5.   Check availability:     IberLibro     Link/Print  


        Harvey

      New York: Oxford University Press, 1953. First printing. A clean and bright VG+ copy in a VG dust jacket. Basis for the 1950 film directed by Henry Koster and starring James Stewart, Josephine Hull and Peggy Dow. Scarce, especially in dust jacket. . First Edition. Hard Cover. VG+/Very Good. Illus. by Blechman, R.O..

      [Bookseller: Acorn Books]
 6.   Check availability:     Biblio     Link/Print  


        A Poem Called Tunning of Elynour Rummynge, the Famous Ale-Wife of England

      Worcester, Massachusetts : Gehenna Press, 1953 Signed by Esther and Leonard Baskin on the press mark page following the colophon page. Limited edition of 118 copies. This is number 25. This is the fifth publication of Gehenna Press. With 13 wood engravings by Leonard Baskin. Printed in red and black. The author was Poet Laureate to King Henry the VIII. Bound in blue paper over boards, with paper labels on the front cover and spine. Covers are age toned along extremities, with a 1.5 inch off white mark on the front panel, 1/2 inch stain on the back panel, small stain on paper title label to front. Surface paper is split on rear board, along the bottom half of the seam with the back strap. Paper label on spine is age toned. Interior is clean and unmarked, with some age toning along margins that does not impinge on the text or illustrations. Some slight foxing to end papers. Binding is solid. Text block is square.

      [Bookseller: Boomerang Booksellers, ABAA/ILAB (USA)]
 7.   Check availability:     IOBABooks     Link/Print  


        1953 THREE SCARCE WILLIAM SAROYAN DRAFT SCREENPLAYS of THE WAYWARD BUS by JOHN STEINBECK housed in a Custom Clamshell Case

      1953. 1st Edition 1st Printing. Soft cover. Very Good. THREE ORIGINAL SCREENPLAYS by WILLIAM SAROYAN based on THE WAYWARD BUS by JOHN STEINBECK. Three Mimeographed Screenplay Drafts in Printed "Chas. K. Feldman Group Productions" wrappers, inner pages 3-hole punched at the left side, bound with 3 brass brads, 8.5x11" paper, two of the drafts are printed on white paper, one on yellow paper, pages printed on one side only, 155 pages, 172 pages and 150 pages. In a Custom Made Clamshell Box that has a leather spine and marbled paper inner lining. The back of the spine is titled in gilt "THE WAYWARD BUS". One screenplay draft, the one printed on yellow paper, is dated 6/17/54 - 6/18/54, with one or the other of those dates typed at the top of some of the pages. Another draft is undated, and another is dated July 13, 1953, in pencil on the title page. The un-dated script has A FULL PAGE OF HANDWRITTEN NOTES & CORRECTIONS written on the blank backside of the last page. Though unsigned, these manuscript notes are likely in SAROYAN'S HAND. Peter Howard (see more information about Peter below), who was very familiar with Saroyan autograph material, claimed that the writing was Saroyan's, and it certainly appears to be Saroyan's handwriting to me, but the writing may very well be by an unknown (to me) reader who Saroyan relied on for editorial comments. I do not know for certain whose hand the notes are in. I have provided a quality image of the page of notes for your determination. Two of the scripts have a number of hand corrections, changes and marks; these also appear to be in the hand of Saroyan, but they may be by another hand entirely. These 3 Saroyan / Steinbeck Screenplay Drafts were All Owned by CHARLES K. FELDMAN GROUP PRODUCTIONS, with His Company's Printed Wrappers holding each Saroyan Screenplay Draft. Provenance of the late PETER HOWARD, ABAA, owner of the now gone SERENDIPITY BOOKS, Berkeley, California. PETER acquired a large collection of items by William Saroyan, a writer he greatly admired. Much of the material was sold and/or donated by Peter to Stanford University and to the William Saroyan trust. This group of 3 Saroyan Scripts was Priced by the PETER HOWARD,at $25,000: Laid-in the clamshell box, on top of the scripts, is a note in Peter Howard's hand, pricing the set of scripts at $25,000 (those of you familiar with Peter's pricing and his codes will recognize his marks and price); Peter's $25,000 price and code, along with a few relevant notes, are also written, in pencil, on the title page of one of the drafts. Peter believed that these Screenplays by Saroyan were among his most difficult items to find. Condition: All the manuscripts have some toning, signs of handling (thumbing), a few tape remnants to inner pages, and covers that have some writing, stamps and edgewear (one cover has remnants of a large label of some sort). Some of the inner pages have relevant handwritten notes, marks and dates. Overall VERY GOOD condition, tight, bright and clean. The clamshell case is in NEAR FINE condition, solid and lovely, just a touch of wear to the leather edges. How these scripts came into being: ******In 1952 Hollywood Super-Agent turned Film-Producer Charlie Feldman bought the rights to JOHN STEINBECK'S 1947 novel, THE WAYWARD BUS, and hired playwright and novelist WILLIAM SAROYAN to adapt it for the screen. Saroyan makes a valiant effort in these three drafts, but in 1955 Feldman gave up and sold the film rights to Twentieth Century Fox, who hired Ivan Moffat to pen the script.****** About the FILM: ******When the film finally came out in May 1957, it was a critical and commercial failure. The screenplay by Ivan Moffat was considered a hatchet-job at best (the producers should have stuck with Saroyan!). The film was never officially released on DVD because Steinbeck's widow bought back the rights and refuses to let it be released because Steinbeck was greatly displeased with the final result.******

      [Bookseller: Blank Verso Books]
 8.   Check availability:     Biblio     Link/Print  


        Hornblower and The Atropos.

      Boston; Little Brown and Company. 1953 - First US Edition. 8vo. Very good indeed in publisher's sea green cloth titled in gilt to spine, light bumping to spine ends. In an acceptable wrapper with fading to the spine panel, and creasing, chipping and a rectangle of loss to the upper edge of the front panel. Internally clean and fresh. Inscribed by Forester to his wife, Dorothy on the front flyleaf and bearing the bookplate of the Forester, Troughton-Smith family archive to the pastedown. As we have discovered with the family related Hornblower titles, often the dustwrappers have suffered somewhat, nevertheless a lovely association copy, housed in a tailor made leather spined clamshell box. [Attributes: First Edition; Hard Cover]

      [Bookseller: Adrian Harrington Ltd, ABA, ILAB]
 9.   Check availability:     AbeBooks     Link/Print  


        Odes anacréontiques. Traduction de Leconte de Lisle.

      Lyon, Cercle Lyonnais du Livre, 1953, - gr. in-8, en feuilles, sous couverture rempliée, chemise et étui cartonnés, 80 pp. Edition illustrée de 50 lithographies originales par André Derain. Tirage unique à 200 exemplaires numérotés sur B.F.K. Rives, celui-ci enrichi d'une suite de 58 lithographies en sanguine sur Chine dont 9 refusées (une planche manque à notre suite). Bel exemplaire néanmoins, auquel on joint le menu agrémenté d'une lithographie originale supplémentaire. [Attributes: Hard Cover]

      [Bookseller: Librairie Vignes]
 10.   Check availability:     AbeBooks     Link/Print  


        Casino Royale

      London: Jonathan Cape,, 1953. Octavo. Original black cloth, titles to spine in red, heart device to front cover in red, bottom edges untrimmed. With the illustrated dust jacket. Housed in a black quarter morocco solander box by the Chelsea Bindery. Bookplate to rear pastedown over remnants of earlier label, accession number and neat ownership inscription to contents leaf, signature to front free endpaper. Very good in the frayed and lightly creased dustjacket with staining to the verso and small loss at the corners. First edition, first impression. Fleming (1908-1964) finished Casino Royale over the period of two months in early 1952, while at Goldeneye, his "tropical hideaway on Jamaica's north shore" (Gilbert, p. 16). According to Gilbert, Fleming finished the novel quickly because "he was a seasoned journalist", but also because many plot elements sprung from either Fleming's imagination or his memories of wartime adventures. Published in April 1953, the book was a success and Fleming would thereafter use "his Caribbean holidays to write a James Bond story every year until his premature death in 1964" (ODNB).

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


        Les petits chevaux de Tarquinia EDITION ORIGINALE ENVOI AUTOGRAPHE

      Paris: Gallimard, 1953. Fine. Gallimard, Paris 1953, 12x19cm, relié. - First edition, one of the review copies. Bound in half morocco cherry back with five nerves, when golden tail, flat marbled paper, guards and contreplats of handmade paper, covers and spine preserved (back filled with a small lack in foot), top edge gilt, binding signed Goy & Vilaine. Precious autograph dedication signed by the author Maurice Blanchot: "... with all my admiration ..." Pleasant 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! - [FRENCH VERSION FOLLOWS] Edition originale, un des exemplaires du service de presse. Reliure en demi maroquin cerise, dos à cinq nerfs, date dorée en queue, plats de papier marbré, gardes et contreplats de papier à la cuve, couvertures et dos conservés (dos comportant un petit manque comblé en pied), tête dorée, reliure signée de Goy & Vilaine. Précieux envoi autographe signé de Marguerite Duras à Maurice Blanchot : "... avec toute mon admiration..." Agréable exemplaire parfaitement établi.  

      [Bookseller: Librairie Le Feu Follet]
 12.   Check availability:     Biblio     Link/Print  


        The Ascent of Everest. SIGNED BY SIR JOHN HUNT

      Hodder & Stoughton [1953] 8vo., First Edition, with a coloured frontispiece, 7 coloured and 48 monochrome plates, and numerous illustrations in the text, some light offsetting from fold - ins to free endpapers; blue cloth, gilt back, blue top, a near fine copy in unclipped dustwrapper. SIGNED BY THE AUTHOR ON TITLE. THIS COPY WAS FORMERLY IN THE LIBRARY OF COMMANDER PETER LLOYD - BOSTOCK AND BEARS HIS HOLOGRAPH PENCILLED SIGNATURE ON FRONT FREE ENDPAPER. With a small quantity of relevant cuttings laid in.

      [Bookseller: Island Books]
 13.   Check availability:     maremagnum.com     Link/Print  


        Actuelles II. Chroniques 1948-1953

      Gallimard 1953 - - Gallimard, Paris 1953, 12x19cm, broché. - Edition originale, un des exemplaires du service de presse. Envoi autographe signé d'Albert Camus à Raymond Peju. Dos légèrement insolé sans gravité. [AUTOMATIC ENGLISH TRANSLATION FOLLOWS] Edition, review copy. autograph dedication of the author autograph signed by Albert Camus to Raymond Peju. [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: Librairie Le Feu Follet]
 14.   Check availability:     IberLibro     Link/Print  


        Package Design: The Force of Visual Selling

      1953. SUTNAR, Ladislav. Package Design: The Force of Visual Selling. Unpaginated. Illustrated with hundreds of photographs. Oblong 4to., 228 x 305 mm, bound in publisher's boards and illustrated dust jacket. New York: Arts Inc., 1953.|~| |~||~||~||~||~| Sutnar's classic work on advertising. Sutnar, a native of Czechoslovakia, became one of the twentieth century's most influential designers. In America he produced three beautifully designed and highly influential books: Design for Point of Sale (1952), Package Design (1953), and Visual Design in Action (1961), all of which are difficult to find in good condition.

      [Bookseller: Ursus Rare Books]
 15.   Check availability:     Biblio     Link/Print  


        Stone Fire Place. Drawing room. Residence of Mr. and Mrs. Howard Ahmanson

      Los Angeles, Calif., ca. 1953. Pencil drawing on board. 12 x 18 inches. Annotated in pencil. Literature: Millard Sheets. One-Man Renaissance by Janice Lovoos and Edmund Penney, p. 67 ff. Authenticated by the artist's son, Tony Sheets, on the verso.

      [Bookseller: Alan Wofsy Fine Arts]
 16.   Check availability:     Biblio     Link/Print  


        THE DEMOLISHED MAN - SIGNED

      Chicago: Shasta Publishers, 1953. First Edition. First Printing, one of 200 Subscriber's Copies signed by Bester on the front endpaper. Octavo; brick red paper over boards, quarterbound in teal cloth, with titles stamped in gilt on spine and in white on front panel. Fine in a Fine, unclipped dustjacket. In a world full of "peepers" - telepaths who can reach into the minds of those around them - murder has become nearly impossible. Therefore Lincoln Powell, Prefect of the Psychotic Division, is astonished to be summoned to a popular socialite's home to investigate a murder and a disappearance." Winner of the first Hugo Award in 1953, and ranked Number 7 on David Pringle's list of Best Science Fiction Novels.

      [Bookseller: Captain Ahab's Rare Books]
 17.   Check availability:     Biblio     Link/Print  


        Letters and Papers from Prison

      SCM Press, Ltd. London, UK, 1953. 1st edition. Hardcover. Fine/Fine . "Dietrich Bonhoeffer was a young German pastor who was executed by the Nazis in 1945... [He was arrested in 1943 and executed just a few weeks before the end of the war in Europe.] Acute and subtle, warm and perceptive, yet also profoundly moving, the documents collectively tell a very human story of loss, of courage, and of hope. BonhoefferÕs story seems as vitally relevant, as politically prophetic, and as theologically significant today, as it did yesterday." [Pub. Info] Both book and dust jacket are in Fine condition with some minor chipping to the top and bottom of the dust jacket spine. This is the first publication published in English. 1ST UK EDITION.

      [Bookseller: civilizingbooks]
 18.   Check availability:     Biblio     Link/Print  


        Actuelles II Chroniques 1948-1953 EDITION ORIGINALE Service de presse ENVOI AUTOGRAPHE

      Paris: Gallimard, 1953. Fine. Gallimard, Paris 1953, 12x19cm, broché. - Edition, review copy. autograph dedication of the author autograph signed by Albert Camus to Raymond Peju. - [FRENCH VERSION FOLLOWS] Edition originale, un des exemplaires du service de presse. Envoi autographe signé d'Albert Camus à Raymond Peju. Dos légèrement insolé sans gravité.

      [Bookseller: Librairie Le Feu Follet]
 19.   Check availability:     Biblio     Link/Print  


        Frank Lloyd Wright outlines " The Language of Organic Architecture, " t he "blueprint" for Wright's Architectural philosophy, i n an original Taliesin produced eleven page typescript, signed and inscribed to Lewis Mumford

      Taliesin, February 1953. 8.5" x 11". "Typescript Signed and Inscribed, ""To Lewis F. L.Wright,"" with usual hurried last name appearing like a ""WT,"" 11 pages, 8.5"" x 11"", [Taliesin, February 1953], an essay, typed at Wright's studio at Taliesin West with his unmistakable type face and spacing (inviting the possibility that Wright typed this himself), entitled ""THE LANGUAGE OF ORGANIC ARCHITECTURE,"" and inscribed by Wright to New Yorker architectural critic Lewis Mumford, who adds a pencil notation at the top left of page one: ""Feb 1953."" Some minor edge wear, light toning at margins, two staple holes at top left, else fine condition. ""The Language of Organic Architecture"" is perhaps the most succinct elucidation of Wright's architectural philosophy. It lays out nine terms (but really principles) that defined what he termed ""Organic (or intrinsic) architecture,"" which he considered ""the free Architecture of idea DEMOCRACY."" Wright's ""nine-word lexicon,"" that he found helpful to ""defend and explain whatever I have myself written on the subject,"" included: ""NATURE,"" ""ORGANIC,"" ""FORM FOLLOWS FUNCTION,"" ROMANCE,"" ""TRADITION,"" ""ORNAMENT,"" ""SPIRIT,"" ""THIRD DIMENSION,"" and ""SPACE."" Wright offers a brief comment after each, observing how each term had been abused. (For instance, after ""FORM FOLLOWS FUNCTION,"" he complains that ""Too many foolish stylistic constructions are placed upon the slogan."")After he lays out his general principles, Wright delves in deeper to analyze each term, perhaps the most important are his discussions of the terms ""ORGANIC,"" and ""ROMANCE"": ""The word ORGANIC denotes in Architecture not merely what may hang in a butcher shop, get about on two feet or cultivated in a field. The word Organic refers to entity, perhaps Integral or intrinsic would therefore be a better word to use. As originally used in Architecture, Organic means Part-to-Whole-as-Whole-is-to-Part. So Entity as integral is what is really meant by the word Organic. INTRINSIC.""""ROMANCE,"" like the word BEAUTY, refers to a quality. Reactionary use of this honorable but sentimentalized term by critics and current writers is confusing. Organic-architecture sees actuality as the intrinsic Romance of human creation or sees essential Romance as actual in creation. So Romance is the new Reality. Creativity divines this. No team-work can conceive it. A committee can only receive it as a gift from the inspired Individual...""This essay originally appeared in print in Wright's occasional series of broadsheets as Taliesin Square-Paper 16 in February 1951, and again, in a slightly revised form in May 1953, under the title, Organic Architecture. The essay again appeared in an anthology of Wright's essays published by Horizon the same year, The Future of Architecture. Lewis Mumford and Frank Lloyd Wright first began corresponding in the 1920s, after Mumford had contributed an essay to the Dutch journal Wendingen in 1925 in which he discussed Wright's work as a continuation of a line of innovation begun by H. H. Richardson and Louis Sullivan, as well as placing Wright in contrast to the European modernists like Le Corbusier. Mumford also characterized Wright's work as an ideal of form and expression ideally suited to the American landscape. An article along similar lines authored by Mumford for The American Mercury, elected a response from Wright in August 1926, in which the architect questioned the depth Mumford's understanding of his work. A set of exchanges culminated in their first meeting, a luncheon at the Plaza Hotel in New York, during the winter of 1926-1927 that would being a long and productive dialogue and friendship.This friendship, born of mutual respect and a love of argument, came under enormous strain in the years leading up the Second World War. Mumford, a liberal Democrat, viewed the rise of Nazism and Fascism anxiously?"as he detailed in numerous articles and two full-length works: Men Must Act (1939) and Faith For Living (1940) . Wright held a different view. His general distrust of empire compelled Wright to take a stand against American involvement in the escalating European conflict that struck many as merely isolationist?"a charge that the architect roundly rejected.The final straw for Mumford came in a broadsheet published by Wright: A Taliesin Square-Paper, subtitled as ""A nonpolitical voice from our democratic minority""), which declared ""HITLER IS WINNING THIS WAR WITHOUT A NAVY. We are facing a new kind of warfare that the British Empire, owing to traditional faith in a great navy, cannot learn in time even if we furnished the equipment... Our frontier is no longer England, nor in any sense, it is European. Our frontier is our own shores."" An infuriated Mumford shot back to Wright: ""You dishonor all the generous impulses you once ennobled... Be silent! lest you bring upon yourself some greater shame."" To this, Wright retorted: ""There is no good Empire, there never was a just war."" True to his principles, Wright remained steadfastly opposed to the Second World War, and war in general. Escalating the feud, Mumford published his response to Wright in the interventionist journal, the New Leader. The two did not speak for over a decade. The postwar period saw a thaw in their relationship, and Mumford remained a great admirer of Wright's work, despite their personal and philosophical differences. And Wright, despite Mumford's public shaming of the architect in print, continued sending New Year's greetings, unanswered by Mumford. However in the spring of 1951, Wright forwarded Mumford a copy of Sixty Years of Living Architecture, inscribed: ""In spite of all, your old F. Ll. W."" The gesture moved Mumford to respond and the two began the process of reconciliation, and the pair continued to correspond until Wright's death in 1959. (Wright, Mumford, et al., Frank Lloyd Wright & Lewis Mumford: Thirty Years of Correspondence, 2001, 22-26)"

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


        The Good Citizen's Alphabet

      Gaberbocchus Press, 1953. First Edition. Hardcover. Good/GOOD. Signed By Author. 1953. First Edition. Unpaginated. Signed by the author. 100 copies have been printed on handmade paper, numbered 1-100, of which this is number 57. Grey dust jacket with dark grey lettering over blue cloth. Illustrated by Franciszka Themerson. B&W illustrations throughout. Pages are clean throughout, with light tanning to their edges. Pages also mildly tanned to their blank sides, in the shape of colour blocks on the illustrative pages. Small pencil inscription on the rear endpaper. Signed by the Author on publisher page. Mild wear to spine and edges of the boards. Small split (approx. 5mm) to the top corner on the front board. Mild sunning to spine and board edges. Unclipped dust jacket. Approx. 1cm from top edge on front of DJ appears to have been eaten away. 3 small holes along front flaps fold. Mild wear to other edges. Noticeable tanning to spine and edges.

      [Bookseller: The World of Rare Books]
 21.   Check availability:     Biblio     Link/Print  


        Portraitphotographie mit eigenh. U.

      O. O., 1953.. 30 x 24 cm. Montiert auf Kartonage.. Gruppenphotographie. Mit e. Widmung Coppis "A Cesare ?". Photographie mit Aufdruck "25 Aprile Al Velodrome Vigorelli Un Incontro Memorabile per Il "G.P. Super Gevifil Mako".

      [Bookseller: Kotte Autographs GmbH]
 22.   Check availability:     ZVAB     Link/Print  


        Maigret et l'homme du banc EDITION ORIGINALE Tirage de tête

      Paris: Presses de la cité, 1953. Fine. Presses de la cité, Paris 1953, 11,5x17,5cm, broché. - First edition, one of 100 copies numbered on "pur-fil" paper, only large papiers.Très slight traces of minor friction on the jaws, otherwise nice copy. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale, un des 100 ex numérotés sur pur fil, seuls grands papiers. Très légères traces de frottements sans gravité sur les mors, sinon agréable exemplaire.

      [Bookseller: Librairie Le Feu Follet]
 23.   Check availability:     Biblio     Link/Print  


        Persepolis, I, Structures, Reliefs, Inscriptions

      University of Chicago Press, 1953, Buckram, Book Condition: Very Good, Dust Jacket Condition: No Jacket, First Edition. Size: Elephant Folio - over 15" - 23" tall, This is the first volume of a three volume set, and is an original edition. The University of Chicago Oriental Institute Publications Volume LXVIII. Presumed first printing of the first American edition. Volume I, 1953. Author's preface dated 1951. Printed and bound in the USA. Probably one of about 1,000 copies but not so stated. The usual print run in the 1950s by the University of Chicago Press was 1,000. Blue-gray buckram binding, with gilt-stamped lettering to the spine. Very clean and well-preserved binding. Moderately bumped spine head and tail, and moderately bumped corners. Text block firmly bound in. 16 x 12 inches. (40.5 x 30.5 cm.) xxix and 297 numbered pages of text interspersed with 123 B&W figures. Plus unnumbered pages consisting of 205 B&W plates. Includes fold-out panoramas (The Apadana Eastern Stairway ranges a full six fold-out pages). Heavy coated stock for the plates. There are numerous aerial photographs of the Terrace of Persepolis, the Treasury and other sites. Maps include Iran and Adjacent Countries; the Achaemenid Empire; Ruins of Susa; and Persepolis and Environs. Additionally there is a pristine fold-out map, Persepolis Terrace [Figure 21], in the pocket affixed to the rear pastedown. Also present are numerous architectural plan drawings. There is a color rendering showing painted decoration of doorways. With no missing pages and with all plates called for. No writing, staining, creasing, internal foxing or tears noted. An exceptionally clean copy, and rather tight. Gently read. Lacking the dust jacket. A Very Good copy. Very scarce in any condition. The three-volume set constitute a stunning achievement in field archaeology and a work of monumental scholarship and painstaking industry, Limited Edition

      [Bookseller: The Book Carrel]
 24.   Check availability:     Bookzangle     Link/Print  


        Marchés & Foires de Paris

      Société de Saint-Eloy 1953 - Un volume in-4 (29 cm x 24,5 cm). Un portrait frontispice de Léo Larguier par Henry Cheffer. Illustrations de Pierre-Yves Trémois, Lemagny, Henry Cheffer, Charles Hallo, Robert Jeannisson, René Cottet, Fernand Hertenberger, P.Baudier, A.Vahl, Albert Decaris, Jean Frélaut. Avec le menu du 27 juin 1953 de la Société de Saint Eloy, illustré par Josso. Un des 135 exemplaires numérotés et nominatifs (aux noms des membres de la Société Saint-Eloy). En feuilles sous couverture illustrée, emboîtage et coffret d'éditeur. Pour accéder à la totalité de notre offre, consultez notre site Paris-Libris. [Attributes: Soft Cover]

      [Bookseller: PARIS-LIBRIS]
 25.   Check availability:     AbeBooks     Link/Print  


        IMPROVISATIONS [Cover Title]; SPRING FANTASIA: Masquerade Ball, May 15,1953; Hotel Astor, N.Y

      New York: Artists Equity Fund, Inc., (1953). First Edition. Wraps. Very good +. 4to. Plastic comb binding. Color lithograph card wraps. Ink stamped #358 of 2000 copies to interior. Mild toning, handling wear. Complete, internally clean. The fourth volume in this bound series of original lithograph advertisements, begun by the Artists Equity Fund in 1950 as a source of fundraising to accompany their Spring Fantasia Masquerade Balls held at the Hotel Astor. Well known artists of the day were chosen by the advertisers and commissioned to produce illustrated ads directly onto lithograph plate, the final results printed in a limited run of 2000 and bound in plastic comb. Those contributing to this volume include Milton Avery, Chaim Gross, Reginald Marsh, and others. 10pp. plus 73 color lithograph leaves.

      [Bookseller: Brian Cassidy, Bookseller]
 26.   Check availability:     IOBABooks     Link/Print  


        Les derniers beaux jours EDITION ORIGINALE Tirage de tête

      Paris: Plon, 1953. Fine. Plon, Paris 1953, 14x19,5cm, broché. - First edition, one of 35 numbered on Holland paper leading copy. Beautiful and rare copy with all margins. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale, un des 35 ex numérotés sur Hollande, tirage de tête. Bel et rare exemplaire à toutes marges.

      [Bookseller: Librairie Le Feu Follet]
 27.   Check availability:     Biblio     Link/Print  


        Horn of the Hunter: The Story of an African Safari

      Garden City: Doubleday and Company, 1953. First Edition. Hardcover. Very Good. First edition. (Stated "First Edition" on copyright page.) 315 p. Black cloth with brown and silver stamping. Very Good+ in Very Good dust jacket. Spine cloth faded, lettering a bit rubbed. Jacket worn along edges, verso worn from two pieces of removed tape, bottom of front panel creased with a very small chip at tip, price intact ($5.95). A safari travelogue by the Southern novelist and sportswriter with his illustrations and 32 pages of photos. A difficult book to find with a presentable dust jacket; most surviving jackets look like they've been gored by a wildebeest.

      [Bookseller: Burnside Rare Books]
 28.   Check availability:     Biblio     Link/Print  


        Genetical Implications of the Structure of Deoxyribonucleic Acid. (Reprinted from Nature, vol. 171, p. 964, May 30, 1953) [London, Macmillan, 1953]

      1953 - 8vo (209 x 139 mm), pp [6], with diagrams in the text, unbound as issued (the third lead tipped onto the verso of the second), contemporary ink stamp '341' in upper blank corner, in a morocco-backed box. £18,000First edition of the second, and second-most important, paper on the discovery of the double-helix structure of DNA, published a month after Watson and Crick's first paper announcing the discovery of the structure of DNA. This is a much RARER OFFPRINT THAN THE first AND ARGUABLY AS IMPORTANT. 'Watson wrote about the structure of DNA, in his textbook, "Before the answer was known, there had always been the mild fear that it would turn out to be dull, and reveal nothing about how genes replicate and function. Fortunately, however, the answer was immensely exciting." Five weeks after Watson's and Crick's first paper in Nature, their second appeared, in which, after explaining the structure and the evidence all over again, they pursued some of the genetical implications. These flowed from the most novel, most fundamental fact of the model:'Any sequence of the pairs of the bases can fit into the structure. It follows that in a long molecule many different permutations are possible, and it therefore seems likely that the precise sequence of the bases is the code which carries the genetical information. If the actual order of the bases on one of the pair of chains were given, one could write down the exact order of the bases on the other one, because of the specific pairing.'This immediately suggested, they said, how DNA duplicated itself.'Previous discussions of self-duplication have usually involved the concept of a template, or mould. Either the template was supposed to copy itself directly or it was to produce a "negative", which in its turn was to act as a template and produce the original 'positive' once again. In no case has it been explained in detail how it would do this in terms of atoms and molecules.'The elucidation of the structure of DNA called for a new kind of functional explanation.'Now our model for deoxyribonucleic acid is, in effect, a pair of templates, each of which is complementary to the other. We imagine that prior to duplication the hydrogen bonds [connecting the bases in pairs] are broken, and the two chains unwind and separate. Each chain then acts as a template for the formation on to itself of a new companion chain, so that eventually we shall have two pairs of chains, where we only had one before. Moreover, the sequence of the pairs of bases will have been duplicated exactly.'Yet perhaps not always exactly: the model, or rather the mistake whose correction by Donohue had cleared the way for the model, suggested for the first time a physical, molecular explanation for the central phenomenon of genetics, namely the occasional, random appearance of mutations. If the sequence of bases carried the information for the organism, then a muta-tion might be no more than a single change in that sequence. In particular, they wrote, "Spontaneous mutation may be due to a base occasionally oc-curring in one of its less likely tautomeric forms." For example, though adenine normally paired with thymine, in the rare event that one of its hydrogen atoms shifted to a particular different position at the moment the complementary chain was forming, then the base could bond with the other pyrimidine, cytosine. On the next cycle of replication, the adenine, taking its normal tautomeric form again, would pair as usual with thymine, but the cytosine would pair with guanine and so, on one of the two new double helices, a change in the sequence of bases would have appeared. This was plausible, immensely exciting speculation: proof that a change of a single base pair can cause a mutation was several years away' (Judson, The Eighth Day of Creation pp 184-85).

      [Bookseller: WP Watson Antiquarian Books]
 29.   Check availability:     AbeBooks     Link/Print  


        Nine Stories

      Little Brown 1953 - A fine first edition (so stated on copyright page) in a fine dust jacket, an advance review copy with publisher's review slip. Housed in a custom-made slipcase. [Attributes: Hard Cover]

      [Bookseller: Bookbid]
 30.   Check availability:     AbeBooks     Link/Print  


        Frank Lloyd Wright Taliesin nine page typescript on the Modernists: "IN THE CAUSE OF ARCHITECTURE THE 'INTERNATIONAL STYLE" -- s igned and inscribed to architecture luminary, Lewis Mumford

      Taliesin, February 1953. 8.5" x 11". "Typescript Signed and Inscribed, ""To Lewis ?" F. L. Wright."" with usual hurried last name appearing like a ""WT"", 9 pages, 8.5"" x 11"", Taliesin West, February 1953, signed and inscribed at top in blue ink by Wright to Architecture critic, Lewis Mumford being the typescript of an essay entitled: ""IN THE CAUSE OF ARCHITECTURE THE 'INTERNATIONAL STYLE',"" typed in Wright's studio at Taliesin West with his unmistakable type face and spacing (inviting the possibility that Wright typed this himself), with several pencil emendations and corrections in an unknown. Lewis Mumford adds a penciled note at the top right: ""Feb 1953."" Extremely light toning at right margin, minor crease at top left corner from paperclip, else very fine.Wright, who today stands with Le Corbusier, Walter Gropius, and Mies van der Rohe as some of the most important figures of modernism, was for much of his career, at odds with these same men. Wright's European counterparts became champions of the International Style, a form which Wright found sterile, stifling and antithetical to individual creativity, as well as a direct threat to democracy. Borrowing from the old cliché about the Holy Roman Empire, Wright declares ""THE INTERNATIONAL STYLE IS NEITHER INTERNATIONAL NOR A STYLE,"" and declaring, ""Internationalism is Totalitarianism."" Wright denounces ""All ISMS"" as ""merely derivative."" Rather, according to Wright, ""An ISM is only a notion. At most the notion becomes a fashion and a Fashion is ?" always ?" some passing show of imitation: probably and imitation of a bad imitation by a bad imitator. In any Intentional 'Style', therefore, we would have more invasion than invention. Though unfortunately serviceable to the commerce of Education as it now runs is this latest propaganda, 'BUILT IN THE U.S.A.: POSTWAR ARCHITECTURE', sold by he Museum of Modern Art, New York, N.Y. I see in it a cliché for the rising tide of mediocrity. You will find that it merely betrays what was originally individual in true Democratic sense of the much abused term ?" Organic Architecture - The Architecture of Democracy."" Wright, who firmly believed that the International Style stifled individual creativity, asked, in conclusion: ""Why do I distrust and defy Internationalism as I do Communism? Because it must do this very leveling in the name of Civilization whether willing it so or not. Communism (factual religion of collectivism) one established, the sun of creation goes down. Life does agree to be embalmed alive. I see collectivism in all forms - especially in Architecture - already becoming too expedient in our midst. Such drift toward all forms of standardization away from quality toward quantity can only mean the success of Communist or Totalitarian. All collectivism such as Internationalism as a Style tends to diminish the human soul because it relieves the individual of a developed conscience and takes form him therefore the reward of being true to himself as himself. This reward of individuality as been the Star of Creation since time immemorial. That Star cannot set for America in any standardized Style. When and where Life - unaware - might consent to be embalmed alive, intellectuals seem last to waken to the rescue. Sleep lasts longest for them because light from within hurts their eyes most of all.""Wright published this essay in February 1953 as the final issue (No. 17) of his Taliesin Square-Paper series - an occasional publication that began in 1941.Lewis Mumford and Frank Lloyd Wright first began corresponding in the 1920s, after Mumford had contributed an essay to the Dutch journal Wendingen in 1925 in which he discussed Wright's work as a continuation of a line of innovation begun by H. H. Richardson and Louis Sullivan, as well as placing Wright in contrast to the European modernists like Le Corbusier. Mumford also characterized Wright's work as an ideal of form and expression suited to the American landscape. An article along similar lines authored by Mumford for The American Mercury, elected a response from Wright in August 1926, in which the architect questioned the depth Mumford's understanding of his work. A set of exchanges culminated in their first meeting, a luncheon at the Plaza Hotel in New York, during the winter of 1926-1927 that would begin a long and productive dialogue and friendship.This friendship, born of mutual respect and a love of argument, came under enormous strain in the years leading up the Second World War. Mumford, a liberal Democrat, viewed the rise of Nazism and Fascism anxiously?"as he detailed in numerous articles and two full-length works: Men Must Act (1939) and Faith For Living (1940). Wright held a different view. His general distrust of empire compelled Wright to take a stand against American involvement in the escalating European conflict that struck many as merely isolationist?"a charge that the architect roundly rejected.The final straw for Mumford came in a broadsheet published by Wright: A Taliesin Square-Paper, subtitled as ""A nonpolitical voice from our democratic minority"", which declared ""HITLER IS WINNING THIS WAR WITHOUT A NAVY. We are facing a new kind of warfare that the British Empire, owing to traditional faith in a great navy, cannot learn in time even if we furnished the equipment ... Our frontier is no longer England, nor in any sense, it is European. Our frontier is our own shores."" An infuriated Mumford shot back to Wright: ""You dishonor all the generous impulses you once ennobled ... Be silent! lest you bring upon yourself some greater shame."" To this, Wright retorted: ""There is no good Empire, there never was a just war."" True to his principles, Wright remained steadfastly opposed to the Second World War, and war in general. Escalating the feud, Mumford published his response to Wright in the interventionist journal, the New Leader. The two did not speak for over a decade. The postwar period saw a thaw in their relationship, and Mumford remained a great admirer of Wright's work, despite their personal and philosophical differences. And Wright, despite Mumford's public shaming of the architect in print, continued sending New Year's greetings, unanswered by Mumford. However, in the spring of 1951, Wright forwarded Mumford a copy of Sixty Years of Living Architecture, inscribed: ""In spite of all, your old F. Ll. W."" The gesture moved Mumford to respond and the two began the process of reconciliation, and the pair continued to correspond until Wright's death in 1959. (Wright, Mumford, et al., Frank Lloyd Wright & Lewis Mumford: Thirty Years of Correspondence, 2001, 22-26)"

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


        Such, Such Were The Joys

      HARCOURT, BRACE, AND COMPANY, NEW YORK 1953 - 1st American Edition. Advanced Copy from Harcourt, Brace and Company Please note the release date for review and the price "FEB 26 1953" "3.50". Dust jacket separated at spine. Various sizes of pieces of the dust jacket have been chipped off. Gold gilt on spine. Clean pages. DATE PUBLISHED: 1953 EDITION: 230 [Attributes: First Edition; Hard Cover]

      [Bookseller: Princeton Antiques Bookshop]
 32.   Check availability:     AbeBooks     Link/Print  


        The Standard Edition of the Complete Psychological Works of Freud. The First Collected Edition. Translated from the German under the General Editorship of James Strachey, in collaboration with Anna Freud, assisted by Alix Strachey and Alan Tyson

      London: The Hogarth Press and the Institute of Psycho-Analysis, 1953-1974., 1953. 24 volumes; 8vo. The FIRST COLLECTED EDITION, in which "the primary aim was ... to be the rendering of his (Freud's) meaning with the greatest possible accuracy." Volumes IV, V, and VII were the first to be published in 1953, followed by X, XVIII, XIII, II, XVII in 1955; then two volumes came out per year from 1957 to 1964; volume I was published in 1966 and the Index, the last volume (XXIV), was finally issued in 1974. Beautifully bound in recent dark blue half morocco with gilt raised bands and gilt tiles to spines, blue cloth boards, top edges gilt. A very attractive copy of this important set.

      [Bookseller: Adrian Harrington Rare Books]
 33.   Check availability:     IOBABooks     Link/Print  


        Contes de l'absurde (Exemplaire sur Corvol l'Orgueilleux, envoi)

      Julliard 1953 - Edition originale de ce recueil de cinq nouvelles fantastiques ou de science fiction, un des vingt exemplaires numérotés sur Corvol l'Orgueilleux des papeteries Prioux, seul tirage en grand papier, cet exemplaire n°17, in-12, broché, 201 pages, envoi autographe signé de l'auteur sur la page de faux titre, très bon état. [Attributes: First Edition; Signed Copy; Soft Cover]

      [Bookseller: alain marchet]
 34.   Check availability:     AbeBooks     Link/Print  


        GO TELL IT ON THE MOUNTAIN - ADVANCE COPY

      New York: Alfred A. Knopf, 1953. First Edition. Octavo (20cm); illustrated wrappers; [x], 303pp, [5]. Small owner's label to verso of front wrapper, some pinpoint wear to spine ends and joints, and a hint of dustiness to rear wrapper; still very Near Fine, notably absent the usual heavy wear and fading to spine. The author's debut novel, a semi-autobiographical work examining the role of the Christian church in the lives of African Americans, both as a source of inspiration and community. On a more subtle level, the novel examines racism in the United States, and explores some homosexual themes. The artwork on the advance copies was commissioned by Knopf for the dustjacket, though when Baldwin saw it, he disliked it and insisted that more cartoon-like artwork be substituted for the first edition. An attractive copy of Baldwin's most enduring work in a format that clearly wasn't built to last.

      [Bookseller: Captain Ahab's Rare Books]
 35.   Check availability:     Biblio     Link/Print  


        Go Tell It on the Mountain [Advance Copy]

      New York: Alfred A. Knopf, 1953. First Edition. The author's debut novel, a semi-autobiographical work examining the role of the Christian church in the lives of African Americans, both as a source of inspiration and community. On a more subtle level, the novel examines racism in the United States, and explores some homosexual themes. The artwork on the advance copies was commissioned by Knopf for the dustjacket, though when Baldwin saw it, he disliked it and insisted that more cartoon-like artwork be substituted for the first edition. An attractive copy of Baldwin's most enduring work in a format that clearly wasn't built to last. Octavo (20cm); illustrated wrappers; [x], 303pp, [5]. Small owner's label to verso of front wrapper, some pinpoint wear to spine ends and joints, and a hint of dustiness to rear wrapper; still very Near Fine, notably absent the usual heavy wear and fading to spine.

      [Bookseller: Lorne Bair Rare Books]
 36.   Check availability:     Biblio     Link/Print  


        MANUSCRIT AUTOGRAPHE D'UNE PARTIE DE L'OPERA BALLET ARMIDA; AUTOGRAPH MANUSCRIPT OF PART OF THE OPÉRA-BALLET "ARMIDA"

      - Original partition comprising "Chanson", Armida's aria ("C'est un air pour l'amour"), and a "Valse lent", scored for two distinct instrumental ensembles and voices, including parts for Armida (contralto), flute, clarinet, bassoon, contra-bassoon, tenor saxophone in B flat, trumpet, three trombones, double bass, harp, accordion, piano and percussion, the full score notated in pencil on up to twenty-two staves per page, with cues near the end for "Entrée Armida" and "Chanson", marked for performance, presumably by the composer, in orange crayon and pencil 43 pages, folio (c.35 x 27cm), including title page and list of the instrumentation on verso, 32-stave paper, French provenance [1953], staining to title page, otherwise in good condition Apparently unpublished. The "Chanson" is scored for an unnamed voice, and small ensemble (the "Orchestre enregistré"): saxophone, trumpet, three trombones, accordion, piano, double bass and percussion. The instructions explain how the Chanson is to be recorded. Armida's aria (pp.6-27) and the "Valse" use, in addition, the violin, woodwind, harp, xylophone, glockenspiel and vibraphone listed under the "Orchestre direct" on verso of the title page. The vocal parts include both wordless passages (some unaccompanied) and Sprechstimme, with the note-heads replaced by crosses.

      [Bookseller: Magnus]
 37.   Check availability:     AbeBooks     Link/Print  


        Molecular Structure of Nucleic Acids: A Structure for Deoxyribose Nucleic Acid; Molecular Structure of Deoxypentose Nucleic Acids; Molecular Configuration in Sodium Thymonucleate.

      St. Albans: Fisher, Knight & Co. 1953. First edition, in the rare offprint form, of one of the most important scientific papers of the twentieth century, which "records the discovery of the molecular structure of deoxyribonucleic acid (DNA), the main component of chromosomes and the material that transfers genetic characteristics in all life forms. Publication of this paper initiated the science of molecular biology. Forty years after Watson and Crick's discovery, so much of the basic understanding of medicine and disease has advanced to the molecular level that their paper may be considered the most significant single contribution to biology and medicine in the twentieth century" (One Hundred Books Famous in Medicine, p. 362). The double helix describing the molecular structure of DNA has not only reshaped biology, it has become a cultural icon, represented in sculpture, visual art, jewellery, and toys. In 1962, Watson, Crick, and Wilkins shared the Nobel Prize in Physiology or Medicine "for their discoveries concerning the molecular structure of nucleic acids and its significance for information transfer in living material." DNA was first isolated by the Swiss physician Friedrich Miescher in 1869, and over the succeeding years many researchers investigated its structure and function, with some arguing that it may be involved in genetic inheritance. By the early 1950s this had become one of the most important questions in biology. Maurice Wilkins of King's College London and his colleague Rosalind Franklin were both working on DNA, with Franklin producing X-ray diffraction images of its structure. Wilkins also introduced his friend Francis Crick to the subject, and Crick and his partner James Watson began their own investigation at the Cavendish Laboratory in Cambridge, focusing on building molecular models. After one failed attempt in which they postulated a triple-helix structure, they were banned by the Cavendish from spending any additional time on the subject. But a year later, after seeing new X-ray diffraction images taken by Franklin (notably the famous 'Photo 51', which is reproduced in the third paper), they resumed their work and soon announced that not only had they discovered the double-helix structure of DNA, but even more importantly, that "the specific pairing we have postulated immediately suggests a possible copying mechanism for the genetic material." "Although recognized today as one of the seminal scientific papers of the twentieth century, Watson and Crick's original article in Nature was not frequently cited at first. Its true significance became apparent, and its circulation widened, only towards the end of the 1950s, when the structure of DNA they had proposed was shown to provide a mechanism for controlling protein synthesis, and when their conclusions were confirmed in the laboratory by Matthew Meselson, Arthur Kornberg, and others. "Crick himself immediately understood the significance of his and Watson's discovery. As Watson recalled, after their conceptual breakthrough on February 28, 1953, Crick declared to the assembled lunch patrons at The Eagle that they had "found the secret of life." Crick himself had no memory of such an announcement, but did recall telling his wife that evening "that we seemed to have made a big discovery." He revealed that "years later she told me that she hadn't believed a word of it." As he recounted her words, "You were always coming home and saying things like that, so naturally I thought nothing of it"" (Francis Crick Papers, National Library of Medicine, profiles.nlm.nih.gov/SC/Views/Exhibit/narrative/doublehelix.html) "When Watson and Crick's paper was submitted for publication in Nature, Sir Lawrence Bragg, the director of the Cavendish Laboratory at Cambridge, and Sir John Randall of King's College agreed that the paper should be published simultaneously with those of two other groups of researches who had also prepared important papers on DNA: Maurice Wilkins, A.R. Stokes, and H.R. Wilson, authors of "Molecular Structure of Deoxypentose Nucleic Acids," and Rosalind Franklin and Raymond Gosling, who submitted the paper "Molecular Configuration in Sodium Thymonucleate." The three papers were published in Nature under the general title "The Molecular Structure of Nucleic Acids" (ibid.). The offprint is printed from the same type as the journal printing. The article was set in a single column of monotype. The offprint was printed from that monotype, while the journal printing was made in double columns from stereotype plates taken from the monotype. Grolier Club, One Hundred Books Famous in Medicine, 99; Dibner, Heralds of Science, 200. Garrison-Morton 256.3; Judson, Eighth Day of Creation, pp. 145-56. Three papers in a single offprint from Nature, Vol. 171, No. 4356, April 25, 1953. 8vo (210 x 140 mm), pp. 7 with two diagrams (including the double helix) and two illustrations from photographs. Stapled in self-wrappers as issued. A very fine and fresh copy.

      [Bookseller: SOPHIA RARE BOOKS]
 38.   Check availability:     Direct From Bookseller     Link/Print  


        Contribution à la théorie mathématique des jeux de communication.

      Paris: Institut de Statistique de L'Université de Paris, 1952/1953. Rare first edition of Mandelbrot's PhD thesis on the subject of information theory, the statistical structure of languages and its relation to thermodynamics, in which he introduced the Zipf-Mandelbrot probability distribution. "In between his two graduate appointments, Mandelbrot completed a PhD in France ... The first half of his dissertation, a mathematical treatment of the frequency of word usage, concerned what he calls 'a subject that didn't yet exist.' The second half, a generalization of the first half using statistical thermodynamics, dealt with a subject 'that was viewed as no longer a part of active physics.' "Yet Mandelbrot's PhD thesis had a pivotal effect on his career, because it introduced him to the work of George Kingsley Zipf. An independently wealthy scholar who taught at Harvard, Zipf decided in the 1940s that the secret of the world resided in a set of mathematical relationships known as power laws. These laws relate the size of an event to how often that event occurs. For example, another of Mandelbrot's early interests was the distribution of wealth in society. It was known that income distributions follow a power law, with low incomes and high incomes related in a specific way. Furthermore, a power law distribution has a special characteristic. Each part of the distribution reflects the whole. Thus, the pattern of relative income distribution is the same in the top half as the pattern in the top quarter of the distribution, which is the same as in the top tenth of the distribution, and so on. This property led Mandelbrot to the defining characteristic of fractals. They are geometric patterns whose properties repeat on different scales or with subtle variations. Consider the distribution of galaxies in the universe. When the Hubble space telescope peered at a tiny speck of sky for a solid week, it revealed a fantastic menagerie of galaxies stretching away from us into the black infinity of time and space. Mandelbrot's studies of galaxies' locations had revealed that they follow a fractal distribution, as the Hubble image demonstrated. Individual galaxies form clumps, and the clumps form bigger clumps, and so on. Each larger structure resembles the smaller one, and this repetitive pattern can be described by a power law." (Steve Olson, Yale Alumni Magazine, 2004). In his thesis Mandelbrot also addresses the problem of coding in the presence of noise and recurring necessary correction of transmission errors, i.e., making it an early work in the field of information theory which had just recently been founded by Claude Shannon. In a 1998 interview Mandelbrot talks about his PhD thesis himself: http://www.webofstories.com/play/10473 8vo (244 x 160 mm), original grey printed wrappers, pp 124, spine strip with some light wear, some disoloring to margins of wrappers.

      [Bookseller: SOPHIA RARE BOOKS]
 39.   Check availability:     Direct From Bookseller     Link/Print  


        EL PADRE PEDAÇ. "EL PADRAZO".

      Prólogo de D. José Francés. Barcelona, 1953 - . 36 cm. Porfolio de 4 h. y 12 lám. con grabados de Bon iluminadas a mano. Edición de 200 ejemplares numerados (ej. 58), de un total de 300. En rama, presentado en carpeta con un grabado sobrepuesto. Artistas siglo XX. Vanguardias

      [Bookseller: Libreria anticuaria Farré]
 40.   Check availability:     AbeBooks     Link/Print  


        STARMAN JONES

      New York: Charles Scribner's Sons, 1953. First Edition. First Printing. Fine in a strong, Very Good+ dustjacket. The first issue jacket is unclipped, retaining the $2.50 price on the front flap. Some mild sunning to the spine and flap folds, along with some pinpoint rubbing at the extremities and two short closed tears. A presentable copy of one of Heinlein's beloved juvenile titles, with superb illustrations by Clifford Geary.

      [Bookseller: Captain Ahab's Rare Books]
 41.   Check availability:     Biblio     Link/Print  


        Lettres de jeunesse EDITION ORIGINALE Grand papier

      Paris: Gallimard, 1953. Fine. Gallimard, Paris 1953, 12x19cm, broché. - First edition, one of 60 numbered about Holland paper, leading copy 21 after Japan. Very nice copy. --- Please note that the translation in english is done automatically, we apologize if the formulas are inaccurate. Contact us for any information! - [FRENCH VERSION FOLLOWS] Edition originale, un des 60 ex numérotés sur Hollande, tirage de tête après 21 Japon. Très bel exemplaire.

      [Bookseller: Librairie Le Feu Follet]
 42.   Check availability:     Biblio     Link/Print  


        Domaine public EDITION ORIGINALE Tirage de tête ENVOI AUTOGRAPHE

      Paris: Gallimard, 1953. Fine. Gallimard, Paris 1953, 14,5x19,5cm, broché. - First edition, one of 85 numbered copies on pure wire, ours one of 10 scholars out trade, deluxe edition. Our copy is the "f" and specially printed for Raymond Queneau. Precious autograph signed Youki Desnos Raymond Queneau and Janine: "... The Lacretelle street - double fat little lunch ..." enriched with a sending René Bertelé "... with good friendly tribute the copyist ... " Beautiful specimen. - [FRENCH VERSION FOLLOWS] Edition originale, un des 85 exemplaires numérotés sur pur fil, le nôtre un des 10 hors commerce lettrés, tirage de tête. Notre exemplaire est le "f" et spécialement imprimé pour Raymond Queneau. Précieux envoi autographe daté et signé de Youki Desnos à Raymond et Janine Queneau : "... La rue Lacretelle - le gras double du petit déjeûner..." enrichi d'un envoi de René Bertelé : "... avec l'hommage bien amical du copiste..." Bel exemplaire.  

      [Bookseller: Librairie Le Feu Follet]
 43.   Check availability:     Biblio     Link/Print  

______________________________________________________________________________


      Home     Wants Manager     Library Search     562 Years   Links     Contact      Search Help      Terms of Service      Privacy     


Copyright © 2018 viaLibri™ Limited. All rights reserved.