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

        Maigret a peur 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 numbered copies on luxury paper, only leading copies. 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 exemplaires numérotés sur papier de luxe, seuls grands papiers. Agréable exemplaire.

      [Bookseller: Librairie Le Feu Follet]
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        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]
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        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]
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        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]
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        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]
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        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]
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        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]
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        Molecular Structure of Nucleic Acids: A Structure for Deoxyribose Nucleic Acid; Molecular Structure of Deoxypentose Nucleic Acids; Molecular Configuration in Sodium Thymonucleate.

      Fisher, Knight & Co., St. Albans 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 [Attributes: First Edition]

      [Bookseller: SOPHIA RARE BOOKS]
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        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]
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        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]
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        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]
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        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]
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        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]
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        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]
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        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]
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        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]
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        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]
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        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]
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        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]
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        STARMAN JONES

      Charles Scribner's Sons [1953], New York - Octavo, illustrated by Clifford Geary, cloth. A Heinlein juvenile novel. "Striking are the detailed, convincing picture of spaceship operational procedures and the suspense whenever the ship must pass through an anomaly."- Anatomy of Wonder (2004) II-516. "An orphaned youth on an overcrowded future Earth longs to go into space. He manages to gain a berth aboard a starship which goes astray and winds up in an unknown region. Luckily, the hero's mathematical ability enables him to calculate the route home through hyperspace. A gripping 'juvenile' in this author's best vein." - Pringle, The Ultimate Guide to Science Fiction, second edition, p. 349. A fine copy in a fine first state dust jacket (with printed price of $2.50) with just a little age tanning to the white lettering of the spine panel. A sharp copy. (17069) [Attributes: First Edition; Hard Cover]

      [Bookseller: John W. Knott, Jr, Bookseller, ABAA/ILAB]
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        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]
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        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]
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        Childhood's End

      Ballantine Books, New York 1953 - First edition in red cloth boards, spine titled in black and jacket art by Richard Powers. Ballantine Books #H33: New York, 1953. 214 Pages. A very nice Fine copy with just a hint of shelf wear in a clipped very good jacket that has a sun toned spine and back cover and a very small chip at crown. [Attributes: First Edition; Hard Cover]

      [Bookseller: SF & F Books]
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        EXPEDITION TO EARTH

      Ballantine Books [1953], New York - Octavo, boards. Signed by Clarke on the front free end paper. The author's first short story collection. This collects eleven stories from the period 1946-1953, it includes "The Sentinel", the story which is the precursor for 2001: A SPACE ODYSSEY. Anatomy of Wonder (1987) 3-100. A fine copy in a fine dust jacket. (16971) [Attributes: First Edition; Signed Copy; Hard Cover]

      [Bookseller: John W. Knott, Jr, Bookseller, ABAA/ILAB]
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        [HWW 84]. Herbstentschluß. Song for voice and piano. Autograph musical manuscript signed in full

      Folio (330 x 259 mm). [5], [i] (blank) pp., with pagination to pp. 3 and 4 only. Notated in black ink on 14-stave printed music paper. With caption title to head of first page: "Herbstenstschluß" [!Herbstentschluß]; credit of text to "N[ikolaus] Lenau" immediately below; numbering "No. 4" above; date "Windischgraz am 8 Juli [1]879" to left; signature: "Hugo Wolf" to right. Indication of tempo at beginning: "In gehender Bewegung, düster." The key is G minor. A fair copy, but with signficiant corrections to central system of p. [5] and erasures to p. 3. Provenance The Köchert family, Vienna; the legendary Louis Koch collection, preserved in his personalized "Autographen Sammlung Louis Koch" folder printed in red and black, with title of work, composer's name, and date of composition noted in manuscript, presumably in Koch's hand. Very slightly worn and soiled. . The only known autograph of this early song. Jestremski p. 85. Kinsky: Manuskripte, Briefe, Dokumente von Scarlatti bis Stravinsky: Katalog der Musikautographensammlung Louis Koch (Stuttgart: Krais, 1953), pp. 305-7 (with a detailed discussion of the manuscript). Critical report of Hugo Wolf: Nachgelassene Werke, ed. Robert Haas and Helmut Schultz, series 1, vol. 2 (Leipzig and Vienna: Musikwissenschaftlicher Verlag, 1936), p. 44. Walker pp. 94 and 502. Not in Sams. The present autograph served as the basis of its posthumous publication in Hugo Wolf: Nachgelassene Werke, series 1, vol. 2. The numbering "No. 4" is believed to be a later addition, made in connection with Wolf's plans to include this song in a collection: "Wolf set three song from Lenau's collection 'Herbst' (Autumn) between July and September 1879, during his stay in Windischgraz: Herbstentschluß, Herbst [HWW 86; incomplete], and Herbstklage [HWW 87]. From the same time a title page is extant with the titling 'Herbstgesänge von N. Lenau componirt von Hugo Wolf' [at the Wienbibliothek, Vienna], making Wolf's intention to combine the songs in a series obvious... Herbstentschluß was to be part of the next two compilations Wolf was occupied with, in either case as 'no. 4'; first, for a volume of five [songs on] poems by Lenau, which he prepared in the fall on the same year [1879], and then, in summer 1880, for a double volume with [songs on] poems by Lenau and Eichendorff." Jestremski p. 104.

      [Bookseller: J & J Lubrano Music Antiquarians LLC]
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        The Demolished Man

      Chicago: Shasta Publishers, 1953. First Edition. Hardcover. Very Good. First edition. 250 p. One of 200 subscriber's copies neatly signed by author on front free end paper in black ink. Very Good in Very Good jacket. Bottom corner of back board chewed, otherwise in nice shape. Jacket has light rubbing and wear at tail, chip at head with archival mending tissue on verso, price intact ($3.00). A signed first of the winner of the very first Hugo Award.

      [Bookseller: Burnside Rare Books]
 26.   Check availability:     IOBABooks     Link/Print  


        Junkie. Confessions of an unredeemed Drug Addict [bound together with an abridged reprint of] Narcotic Agent, [by] Maurice Helbrant, Formerly of the Federal Bureau of Narcotics, United States Treasury Department.

      New York: Ace Books, Inc, 1953 - Perfect-bound reversible "Ace Double". Original pictorial wrappers. Tiny number ink stamp to first leaf of Narcotic Agent. Extremities a little rubbed, small creases to corners of wrapper on Narcotic Agent side, contents toned as usual. An excellent copy. First edition, first printing. Containing Burroughs's first book, this is by far the most collectible of the Ace Double Books series. Maynard and Miles A1a. [Attributes: First Edition]

      [Bookseller: Peter Harrington. ABA member]
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        Liberté j'écris ton nom

      Paris: Pierre Seghers, 1953. Fine. Pierre Seghers, Paris S.d. (1953), 29x112cm, une feuille dépliante. - Second draw after the very rare first edition published the same year, this poem-object compound as a color illustrated brochure by Fernand Léger's poem Liberty his friend Paul Eluard. Copy screen printed on heavy beige paper. Tiny bites the head without gravity, otherwise very good copy of a rarity. --- 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] Second tirage, après la très rare édition originale parue la même année, de ce poème-objet composé sous forme de dépliant illustré en couleurs par Fernand Léger sur le poème Liberté de son ami Paul Éluard. Exemplaire imprimé en sérigraphie sur papier fort beige. Infimes piqûres en tête sans gravité, sinon très bel exemplaire d'une grande rareté.  

      [Bookseller: Librairie Le Feu Follet]
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        Appointment in Samarra

      New York, NY: Random House/The Modern Library, 1953. First Edition Thus. Hardcover. Good. The first Modern Library edition, as stated on copyright page, of John O'Hara's classic novel, first published in 1934. With a new forward by the author. This is a very special copy- it is inscribed & signed by O'Hara on the half-title page: "To Betty/This wasn't done/with a wave of the/hand either/Love-/(signed) John O'Hara/19 March 1955." The addressee of the inscription is the legendary Lauren Bacall, whose birth name was Betty. At this time, she was married to iconic actor Humphrey Bogart. A most affectionate & familiar greeting from one great American figure to another. An outstanding collectible with very important cultural & literary significance. Without dust jacket. Book in relatively good condition with mild rubbing to front, back covers & spine; moderate sunning to spine; moderate loss of gilt in title stamp of front cover & spine; very mild wear at edges of covers; tiny bumps at corners of same including miniscule loss of cloth; upper & lower edges of spine moderately worn & with some short tears in cloth; very mild rubbing, soiling & scratching at all trimmed edges of text block. Interior fine with only mild browning at margins of page leaves. Signed & Inscribed by John O'Hara to Lauren Bacall.

      [Bookseller: Third Mind Books]
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        Casino Royale

      Jonathan Cape 1953 - The true first edition, first Published 1953 stated on the copyright page and no mention of later printings. Very good in original boards. Housed in a custom-made collector's slipcase. [Attributes: First Edition; Hard Cover]

      [Bookseller: Bookbid]
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        Att övervaka överheten.

      - Stockholm; Bonniers, 1953. Originalupplaga. 19,5x13 cm. 190, (2) s. Häftad med tryckt omslag. Ryggen delvis loss i limningen. Främre omslaget med aningen nötta omslagskanter. Liten förlagsstämpel på sista blanka sidan. Bra inlaga. Dedikation: "Till Kristina med önskan om en god pingsthelg 1953 från Vilhelm". [To Kristina with wishes for a good Pentecost Weekend 1953 from Vilhelm.?] Vilhelm Moberg (1898-1973), Swedish journalist, social critic, and one of Sweden?s foremost authors of the 20th century. He was born in Algutsboda in the province of Småland, where his father served as a soldier. Moberg worked in his youth with farming and forestry. After a few years of schooling, he worked as a journalist at different provincial newspapers, in which he also published his first short stories. His breakthrough as an author came in 1927 with the novel ?Raskens. The Story of a Soldier?s Family?, where he depicts the life of the tenant farmers in 19th century Småland. His foremost work, which has been widely translated and is considered one of the finest epic works in Swedish 20th century literature, is ?The Emigrant Novels? (1949-1959). In this tetralogy he describes the Swedish emigration to North America through the story of the farmer Karl Oskar Nilsson and his wife Kristina. Moberg was politically engaged and always fought for individual rights, and for the abolition of the monarchy and the State Church of Sweden. He intervened in affairs of corrupt legal practice and published the bestselling book ?Why I am a Republican? (1955). His political views were inspired by his visits to USA and by the Swiss constitution. Moberg had a love affair with a woman named Kristina, whose name he used for the main character Kristina from Duvemåla of ?The Emigrant Novels? This love affair has remained unknown for over half a century, until a collection of his novels, all inscribed by Moberg to Kristina [Odelberg/Hedenblad (1917-2005)], appeared on the market. Judging from the tone in the inscriptions, the relation between Moberg and Kristina was initially intimate and loving, and gradually devolving into affection. In the early inscriptions from the 1940s Moberg writes, for instance: ?To Kristina, my confidant and beloved!?, and in the play ?Chastity? he writes: ?Vilhelm Moberg?s chastity ? what is left of it is hereby dedicated to Kristina? The later in-scriptions from the 1960s contain phrases like: ?with a devout greeting? and ?from her affectionate Vilhelm? In the copy of ?The Emigrants? (?Utvandrarna?, 1949) Moberg writes: ?To Kristina, my be loved, who has lent her name to the female main character in this book, with gratitude and love from The Author.? In the last inscription, in the pocket edition of ?The Emigrant Novels? from 1969, he returns to the fact that she has given her name to Kristina from Duvemåla, which shows that the thought of her had occupied his mind during all these years, and it is also a sign of her probable influence on his writing from 1945 onwards. What further strengthens this opinion is the copy of ?Our Unborn Son?, a play from 1945, which deals with the issue of abortion. This is the only one of these books that has been bestowed with a fine leather binding, with a pocket at end of the volume where Kristina has collected newspaper cuttings on the book and its author, suggesting that the theme of this novel was essential to her. The book was translated into Danish in 1947, and in the collection there is a copy of the Danish edition which has been inscribed to Kristina by the translator thus: ?? This book, which is partly about you?? [Attributes: Hard Cover]

      [Bookseller: Patrik Andersson, Antikvariat.]
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        CHACUN SA CHIMÈRE. CINQ EAUX-FORTES DE WARJA HONEGGER-LAVATER [wrapper title],

      [Zurich: Dölf Hürlimann, 1953].. [4]pp. plus five plates. Small folio (36 x 27.5 cm). Printed wrapper over limp boards. Text in double column. A few trivial finger-tip shadows to black wrapper, otherwise about fine. First edition in this format, with Baudelaire's text in parallel French and German, accompanied by a beautiful suite of five original drypoint etchings, with color lithography, by Warja Lavater (plate size: 27.5 x 20.5 cm plus full margins). One of only twenty-five sets, with each etching signed, titled, dated and numbered in the lower margin by the artist. The engravings are entitled: "Les Principes," "La Tradition," La Crainte du Demain," "Le Complex d'Infériorité," and "L'Ambition." A rather early work in Lavater's canon -- she would revisit the text three decades later, creating a wholly different suite of seven illustrations in an edition of fifty copies for Maeght Editions. Translation by Edmond Tondeur.

      [Bookseller: William Reese Company - Literature ABAA-]
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        The Birds of Burma. With 31 Colour Plates by A. M. Hughes.

      2dn. revised edition. Edinburgh & London, Oliver and Boyd, 1953. Stor 8vo. XLIII + (1 blank) + 668 s. 31 fargeplansjer. Kart. Fint priv. håndb. skinnbd. med fem opph. bind. Topp gullsnitt

      [Bookseller: Ruuds Antikvariat]
 33.   Check availability:     Antikvariat     Link/Print  


        Actuelles II. Chroniques 1948-1953

      Edition, review copy.autograph dedication of the author autograph signed by Albert Camus to Raymond Peju. Gallimard Paris 1953 12x19cm broché

      [Bookseller: Librairie Le Feu Follet]
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        L'arrache-coeur EDITION ORIGINALE Tirage de tête

      Paris: Vrille, 1953. Fine. Vrille, Paris 1953, 12x19cm, broché. - First edition, one of 100 numbered on pure vellum wire Marais, only large papers. Foreword by Raymond Queneau. Rare copy and pleasant. - [FRENCH VERSION FOLLOWS] Edition originale, un des 100 exemplaires numérotés sur vélin pur fil du Marais, seuls grands papiers. Avant-propos de Raymond Queneau. Rare et agréable exemplaire.

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


        la Infame Vintage poster

      Mexico City, 1953. Offset lithograph, image measuring 22 x 22, linen-backed, with the linen extending beyond the image for two inches in each dimension. Very good; a few small tears around the edges, some very minor touch-up work, but skillfully done and unobtrusive. A typically arresting image from Renau, a.k.a. Josep Renau Berenguer (1907-1982), one of several great poster artists working in exile in Mexico in the 40's and 50's. Professionally mounted on conservation grade linen.

      [Bookseller: John Kehoe, Bookseller ABAA]
 36.   Check availability:     Biblio     Link/Print  


        ANTHEM - INSCRIBED

      London: Cassell and Company, Limited, 1953. Second British Edition. Octavo; maroon cloth, with titles stamped in gilt on spine; dustjacket; 147pp. Spine gilt slightly dulled, else Fine. Dustjacket is a bright example, absent chips or tears and still bearing the 6/- net price on the front flap. Some rubbing present to the red on the front and spine panels, a touch of dustiness at the edges of the rear panel, with a bit of minute wear at the spine ends; Near Fine. This copy has been inscribed to bibliophile and noted science fiction collector Jack Cordes on the front endpaper: "To Jack Cordes - Cordially - Ayn Rand. 12/4/67." An attractive copy of Rand's dystopian classic, in which she describes a world where free thought, individualism, and technological advancement are anathema. While signed copies of her other novels appear plentiful, this is a title one seldom encounters signed or inscribed.

      [Bookseller: Captain Ahab's Rare Books]
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        Philosophical Investigations

      Basil Blackwell 1953 - .First British edition. (Stated "First Printed in 1953" on copyright page with tipped-in errata sheet. Precedes the American edition.) 232 p. & 232 p. Bilingual. Very Good in Good+ dust jacket. Slight cocking to spine, back board a little curved, scuff to bottom edge, nick to cloth at front. Foxing to edges. A single page creased. Jacket unclipped with typical foxing that's most noticeable on the spine panel, nick near there. Nice condition overall. The first English-language appearance of one of the most important philosophical works of the 20th Century. Translated by G.E.M. Anscombe. [Attributes: First Edition; Hard Cover]

      [Bookseller: Burnside Rare Books]
 38.   Check availability:     AbeBooks     Link/Print  

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