26 497 résultats
Oblong 4to. 1 p. In Palestinian Arabic, apparently to a Yugoslavian recipient: "My memory of the good Commander Tito stands out boldly in my mind from the shadow, inciting all the perseverance of the excellent men and of those who fight against oppression around the world. So verily the Palestinian people and the revolutionary fighters of the Palestinian Revolution will rise to it successfully, assisted in this noble struggle and supported by the firmness of the champions of our just people. To the spirit of Commander Tito I tribute all the esteem, victorious purity and exaltation; to the people of Tito, I wish the achievement of all prosperity and I pay all our gratitude; to the defenders who fight for the cause of freedom, may be all the support and hope of the fruits of victory. And long live the Revolution until victory!" (transl.). - In fine condition. Autograph letters by Yasser Arafat with such important content are of the utmost rarity; we could not trace an even remotely comparable letter in the trade of the last decades.
304:495 mm. Signed at lower left: "Laur de Brunhoff". A charming, large-format watercolour showing Celesteville, the capital of "Le pays des Éléphants", Babar's Kingdom. The illustration was used as a double-page spread in "Babar à la fête de Célesteville" (1954) and thus bears a few pencilled marks by the printer in the blank margins. - The children’s classic, Babar, began as a bedtime story that Cécile de Brunhoff told her young sons, Laurent and Mathieu, in 1930, when they were five and four years old, respectively. They loved the story about the little elephant so much that they asked their father, who was an artist, to draw pictures for them of the elephant world their mother had described. He did and eventually created a book, Histoire de Babar: le petit éléphant (The Story of Babar), which was published by Jardin des Modes, a family-run publishing house. Jean de Brunhoff created six more Babar books. - De Brunhoff, who holds both French and American citizenship, was made an Officier de l’Ordre des Arts et des Lettres, and a Chevalier of the Légion d’Honneur. - Perfectly preserved.
Folio (320 x 235 mm). 1 p., with address panel to verso. To secretary of state Nicolas de Neufville, seigneur de Villeroy. Catherine de' Médici was one of the great female letter writers of the Renaissance, drafting many of her political letters (as here) in her own hand. She had been Queen consort of France as wife of Henry II, but rose to political power after his death in 1559. She stood behind the brief reign of her eldest son Francis II and, upon his death only a year later, was appointed regent to her second son Charles IX (then only ten years old). He died in 1574, leaving Catherine to preside over the chaotic reign of her third son Henry III, a period of terrible civil and religious war in France. Despite the turmoil, Catherine was a remarkable administrator in a political landscape in which she could trust almost no one. The present letter, drafted in her own hand (in itself remarkable), is typical of her direct style. She informs the secretary of state, Villeroy, one of the few members of government with whom she was intimate, of her wish to grant the benefice of the Abbey of Chailly (on the edge of the Forest of Fontainebleau) to the marquis de Saint-Sorlin, son of the Duchess de Nemours (and later duc de Nemours and Henry I of Savoy). She also makes provision for the benefice of Martigny-le-Comte (Burgundy) and arranges benefices for the sons of the statesman Pomponne de Bellièvre (who later became chancellor of France). The letter is apparently unpublished. It does not appear in the collected "Lettres de Catherine de Médicis" (1880-1943, 10 vols.), though a letter of 13 November 1581 (vol. VII, p. 415) addressed to the duc d’Épernon, on the same subject, allows us to date ours with some confidence. - Old folds, light browning, loss to blank left-hand margin, just touching a word of text and possibly the date, but avoiding the signature, neatly repaired, three further neat repairs to verso. Provenance: Otto August Schulz, Leipzig.
1 page. Folio. Partly printed contract in English with Christian Rudolph Wessel & Co, importers and publishers of foreign music in London, for the sale of the present and future copyright and rights in Great Britain, of opus 25, "Twelve Etudes or Studies", dedicated to [the name is left blank; it will be the Countess d'Agoult] in two volumes to be published simultaneously in France and Germany on the 14th October 1837, for the sum of 16 livres sterling. Piano maker Camille Pleyel, who had accompanied Chopin to London, also signed as a witness. - Blindstamped in lower margin; slight traces of moisture and small tear to centerfold.
8vo. 2 pp. on bifolium. To the British architect William Cecil Marshall (1849-1921), whom Darwin engaged to build an extension to Down House on the north side (a billiard room with dressing room and bedroom above) in 1876, thanking him for some Pinguicula leaves, from which he has picked off sixteen seeds: "My dear Mr Marshall, I am very grateful to you. Your observations are excellent, & are put most clearly & will be very useful to me. I have picked off 16 seeds from this lot! The plant is certainly to a certain extent graninivorous also somewhat graminivorous, though mainly insectivorous. The rain, I know washes off the secretion & with it captured insects (& as you say seeds), which are retained by the incurved edges, which then become more incurved. It is a pretty experiment to put a row of flies or cabbage seeds on one margin of a flat leaf & see how the edge of the side curls over in from 12 to 24 hours. With cordial thanks, Yours very sincerely [...]". - Traces of folds; professionally repaired. On stationery with printed address. Darwin Correspondence Project no. 9627F.
4to. 28 pp. and relevant correspondence. Stored in custom-made half morocco solander case. Signed by Albert Einstein in ink in the upper right corner of the first page: the original script of a 1946 NBC programme on "The Atom", which dramatises Einstein's discovery of the iconic E=mc² equation. A unique survival documenting the enormous popular interest in Einstein's achievements, especially his special theory of relativity and its relationship to calculating the energy produced by atomic fission - a highly topical subject in the spring of 1946, less than a year after the nuclear bombings of Hiroshima and Nagasaki. July of the same year would see the "Operation Crossroads" nuclear weapon tests conducted at Bikini Atoll, to enormous publicity. - Accompanied by a copy of a typed letter to Professor Einstein from the writer Joseph Mindel, originally enclosing the script, reading: "I am writing a series of science television scripts, which are to be produced by N.B.C. [...] The first of the series deals with the atom. I am enclosing a copy. No story of the atom would be complete without E=mc². And what is E=mc² without Einstein? It was thus necessary to portray you briefly in one of the scenes. As you know, your permission is needed for the portrayal [...] Since the script is to be televised on May 14th, won't you please try to give me an answer by that date? [...]" (9 May 1946). Further includes a typed letter from Helen Dukas, Einstein's secretary, confirming his permission to use his name in the programme (10 May 1946), and the copy of a typed letter from Mindel asking to have the script returned "with a few words from Professor Einstein" (16 May 1946). - Light creasing; some staining to top margin of typescript, due to rusty paperclips, but finely preserved in all.
8vo. 1 p. With an autograph letter signed by Elsa on the reverse. - Includes: 3 autograph letters signed by his wife Elsa Einstein (folio and 8vo; Caputh, 21 August 1932 and no date), one with a 6-line autograph postscript signed by Albert Einstein, and a slip of paper (ca. 40 x 80 mm) with autograph note, date (Princeton, 9 May 1934), and signature in full. Intimate correspondence with Einstein's cousin Kuno Kocherthaler, director of a mining company in Spain and also an art collector. - Typing on hotel stationery on the day of his arrival in the USA as a stateless refugee, having escaped from ever-increasing persecution in Nazi Germany, Einstein thanks Kuno for a letter of his about financial matters, adding below in his own hand: "Wir kamen heute erst hier an und suchen uns in dieser exotischen Welt zurechtzufinden. Im Frühjahr um den 1. April kommen wir nach Spanien, wo ich eine Art Lehrtätigkeit auszuüben habe. Hoffentlich sehen wir uns dort wieder einmal gemütlich [...]". - In an earlier letter of Elsa's, also regarding family investments administered by Kuno (undated but written aboard the "Oakland", probably in the port of Bremen on 10 December 1932, about to depart for a winter cruise to Pasadena via Middle America), Einstein adds a poignant note about his younger son Eduard, who suffered from schizophrenia and had recently been committed to a mental asylum in Switzerland: "Nimm bitte diese schleichende Sorge von uns; das Leben hat in letzter Zeit Schweres gebracht, da mein liebster Sohn, der Jüngere, in einer Anstalt hat untergebracht werden müssen (Geisteskrankheit) [...]". - In the final missive, possibly another postscript torn from a longer letter, Einstein gives his consent in a single word ("Einverstanden"), signing and dating: "Princeton, 9. Mai 1934 / Albert Einstein". Elsa's own letters discuss travel, finances, Albert Einstein's stay in Spa, etc. - Each sheet with marginal binder holes affecting a few letters, otherwise flawless.
1 S. 4to. An den Astronomen und Gründer der gleichnamigen Sternwarte Friedrich Simon Archenhold: "Ich habe Ihren freundlichen Artikel und das eingesandte Manuskript mit Interesse gelesen. Der Irrtum des letzteren besteht darin: Eine Pendeluhr allein ist noch keine 'Uhr' im Sinne der Relativitäts-Theorie, sondern lediglich die Kombination einer Pendeluhr mit einem gravitierenden Himmelskörper. Aus der Nichtbeachtung dieses Umstandes entspringt der Irrtum der Verfasser". - Im linken Rand gelocht (keine Textberührung) und alt hinterlegt; kleine Einrisse an den Rändern im Mittelfalz, sonst tadellos.
Zusammen 11 SS. auf 8 Bll. 4to. Mit 3 eh. adr. (aber nur teils hinzugehörigen) Kuverts. 5 Briefe mit Holzschnittvignetten (davon eine handkoloriert), 1 Brief mit einer Aquarellzeichnung. Freundschaftliche Korrespondenz mit dem Arzt und Sammler Wilhelm Mayer und Gattin über sein Leben und Schaffen in New York: "Es ist so manches in letzter Zeit passirt, das uns die einheimischen Kunstgepflogenheiten beleuchtet und wir sind in keiner sehr zuversichtlichen Verfassung bezüglich eines Weiterkommens. Seit vielen Monaten hatten wir keine pekuniären Erfolge, trotz aller Begeisterung, die meine Werke auslösten; es geht uns in allernächster Zeit so, dass wir mit Ersparnissen zuende [sic] sein werden. Ein Auftrag für die N. Y. World's Fair, der nachdem alle meine Entwürfe bei allen in Frage kommenden Stellen Zustimmung und Begeisterung erfuhren, ist plötzlich fürs Erste ins Wasser gefallen, weil die für meine Arbeit ausgesetzten Gelder 'anderweitige' Verwendung […] fanden! Und da ich nur eine mündliche Vereinbarung vorweisen kann, lehnen alle Parteien die Verantwortung ab. Das sind alles Leute von grossem Namen und Ansehen … Well, ich schreibe nicht, um Sie mit unseren Sorgen zu plagen, aber dieser Fall hat unsere Hoffnungen schwer getroffen […] In Ausstellungen gehen wir hin- und wieder; Barlach, Lehmbruck und Marcks waren bei Buchholz Gallery gezeigt; sehr schön. Piero di Cosimo bei Schaeffer, im Herbst. Zu den modernen Malern kommen wir gar nicht oft. Aber Klee hatte zwei glänzende Ausstellungen im Winter. In Konzerte sind wir noch nie gegangen, aber neulich war ein sehr schöner Abend in der Galerie Schaeffer zu der [!] wir eingeladen wurden: An Hour of Old Music; auf Harpsichord, viola da gamba und violin; Bach, Haendel, Rameau, Couperin, Scarlatti; hervorragend schön gespielt. Wir leben sonst denkbar still. […]" (10. III. 1939). - "Was Sie über 'verhundertfachter Korrespondenz' schreiben, verstehen wir hier nur zu wohl! Es ist so vieles was aus Deutschland auf uns hereinstürmt und das Herz schwer macht! Wir kommen aus diesem Drucke kaum mehr heraus […]" (21. VII. 1948).
8vo. 2 pp. on bifolium with integral address leaf. To the surgeon Jakob Herz in Erlangen, whom Feuerbach held in high regard as a representative of the developing "materialist school" in medicine, recommending the son of his friend Karl Bayer, who wished to exchange his study of theology for that of medicine: "So ungern ich sonst die Feder, seis zum Brief- seis zum Schriftstellern, ergreife, so gern ergreife ich sie doch jetzt, weil sie mich mit Ihnen, einem von mir innig verehrten Mann, in, wenn auch nur geistige, Berührung bringt […] Ein junger Mann, ein Bruder des hier seit einigen Jahren ansäßigen u. mir befreundeten Dr. Bayer, welcher erstere zwar nicht auf mein Anstiften, doch nicht ohne meine ermunternden Versprechungen, daß ich Ihnen u. Herrn Prof. Dietrich ihn empfehlen würde, den beklemmenden Schulzwang der christlichen Theophilologie mit dem naturoffnen, liberalen Studium der Medicin vertauscht hat - dieser medicinische Embryo also, der vierte Sohn eines Schullehrers in Pommersfelden, welcher in den Erziehungs- u. Unterstützungskosten 1) eines ausstudirten freigemeindlichen Theologen 2) eines Schullehrers höhrer Ordnung 3) eines Malers bereits seinen mühsam gefüllten Beutel oder wenigstens guten Willen erschöpft hat - dieser also, um es endlich kurz abzumachen, hat mich ersucht, ein Wort zu seinen Gunsten an Sie zu richten, Sie zu ersuchen, ob Sie ihm nicht vielleicht zur Erlangung der Collegienfreiheit behülflich sein wollten […] Ich trage Ihnen […] nur seinen Wunsch vor, aber überlasse es vollkommen Ihrem eignen Willen u. Urtheil, ob sie ihn erfüllen wollen oder nicht. Ich weiß im Voraus, was Sie thun, ist das Rechte. Empfehlen Sie mich Ihrem abendlichen Freundeskreise u. empfangen Sie nochmals die Versicherung, daß ich nur deßwegen ohne Widerstreben die Feder zu diesen Zeilen ergriff, weil sie mir die Gelegenheit gaben, endlich einmal schriftlich Ihnen meine innige Verehrung aussprechen zu können […]". - At the time, Feuerbach was working on his "Theogonie" and had not published anything in years. - With remains of a seal and the address (slight defects to address leaf).
4to. 1 p. on bifolium. To his friend Franz Kruthoffer (1740-1815?), secretary at the Imperial Embassy in Paris and Gluck's de facto private secretary: a fine document of Gluck's shrewd business sense as well as of the high demand among librettists for music by the foremost composer of his age. For Kruthoffer's sake, Gluck promises to accomodate his publisher Peters with regard to royalties, but he makes it clear that in turn he will be asking extra voucher copies and will not let this one-off concession establish a precedent for future negotiations. Also, Gluck complains of the unsolicited opera librettos with which he is swamped by poets, and he forbids Kruthoffer to accept such submissions for him: "Wertester Freyndt / Ihren brief von 17 october habe rechtens Erhalten, in dem letzten Ersehe das begehren des Mr. [Johann Anton de] Peters, welches, weilen Er Ihr gutter freyndt ist, ich vor dieses mahl annehmen wiel, aber Etliche partitionen werde mir vor behalten, wie auch, das auß diesen wenigen, was Er geben wiel, keine consequentz vor zukünfftige opern gemacht wer den soll; der Courrier wiel abgehen, ich kan ihnen nichts mehr schreiben als Unser Compliments tres sinceres de la part de ma femme et de moi a vous, et a Mr. [Franz] de Blumendorff. Ich bitte ihnen auch kein pacquet an mich an zu nehmen Wo man mir wiel poesie schicken umb opern zu machen, dan ich werde grausamb desentwegen bombardirt [...]". - Folded horizontally, without an address: as mentioned in the text, the thrifty Gluck sent this letter - as most of his communications with Kruthoffer - by way of the diplomatic courier service just leaving Vienna for Paris. Kruthoffer has noted his response in the upper margin: "Beant. Paris am 18ten Dezember 1776". - Extremely rare, especially when signed (as Gluck, using the diplomatic mail, usually omitted his signature from his letters to Kruthoffer). Kinsky's 1927 edition of Gluck's correspondence with Kruthoffer noted the loss of a letter of this date; it was not published until 1932. - Provenance: in the "autograph collection of Mrs E[milie] Sch[aup] in Vienna" (cf. Komorn, p. 674) in 1932; in an unidentified "private collection" (cf. Badura-Skoda) in 1963. Includes old collection folder. Not in Kinsky (but cf. note p. 26). Not in Müller v. Asow (ed.), The Collected Correspondence and Papers of Christoph Willibald Gluck (1962). First published: Maria Komorn, Ein ungedruckter Brief Glucks, in: Zeitschrift für Musik 99 (1932), p. 672-675, at p. 674. Facsimile: Eva Badura-Skoda, "Eine private Briefsammlung", in: Festschrift Otto Erich Deutsch (Kassel 1963), p. 280-290, at fig. 5 and p. 282f.
Altogether 37 pages on 38 leaves. Large 4to, with additional material (see below). To the Abbott of the Premonstratensians in Hradisko near Olomouc (Moravia). These unpublished letters, hitherto unknown to scholarship, represent a substantial part of Gran's correspondence with the Hradisch Abbey. They offer a detailed and intimate perspective on the creative process of this famed artist, who, together with Paul Troger and Franz Anton Maulbertsch, is regarded as one of the best-known painters of the later Austrian Baroque period. The letters are valuable sources for the dating of Gran's works at the Hradisko Monastery itself (frescoes and oil paintings); they also provide ample information about the circumstances of their composition. Lost works such as a cycle of paintings from 1747 are also mentioned. Finally, the letters offer a unique perspective on Gran's everyday life, including the illnesses from which he suffered and collaborations with fellow artists. The recipient, although never explicitly named, is Abbott Norbert II. Also enclosed is an additional letter to the Abbott from the painter Christian Hilfgott Brandt (1693-1756), dated and signed Vienna, 25 March 1754. - Margins with occasional tears and light creases, still an extremely well-preserved collection of correspondence. Manuscript material by Gran is extremely rare.
4to. 1 page. A fine quotation from the highly regarded Chinese intellectual, who "once called himself the Chinese answer to German Goethe and this appraisal was widely accepted. Zhou Yang said: 'You are Goethe, the Socialism New Era Goethe'" (Wikipedia). - In this particular quotation Moruo regards the young generation as the foundation for world peace and calls upon the Chinese youth to organise themselves as well as the young Chinese scientists to work for their country. - On headed paper ("Comite du peuple Chinoise da la paix mondiale"); from the collection of the Hungarian writer Simon Gy Ferenc and mounted in his original collectors map with collector's stamp.
4to. 2 vols. (1), 314, (1) pp.; 2 ff. of equations inserted loosely. 260 [but 248: page count jumps from 229 to 240; 1 revised leaf removed by author after numbering the pages], (3) pp. Black ink on squared paper, occasional additions and notes in pencil and red or blue crayon. Includes numerous diagrams (some nearly full-page). Contemp. half calf with giltstamped spine title "Vorlesungen Mechanik I. [bzw. II.] F.H.". All edges red. Hasenöhrl's Mechanics lecture manuscripts, used and revised throughout the great physicist's last seven years of work, mainly composed in 1907/08 and bound for the author around that time. His name is on the flyleaf in his own hand: "Prof. Dr. F. Hasenöhrl / Wien, Universität". The volumes comprise the complete first two lectures (Mechanics and Continuum Mechanics) of Hasenöhrl's four-year cycle, which also included Electrodynamics, Theory of Heat, and Optics. - Volume 1 contains "Vorlesung über Mechanik der starren Systeme. Gehalten fünfstündig im Wintersemester 1907/8 (vom Beginn 24. X, bis 14. II.)" (a piece of information that contradicts Bittner's statement [p. 335] that Hasenöhrl did not teach that winter semester). The first session was Hasenöhrl's inaugural lecture at Vienna University. He inherited Boltzmann's chair, who had taken his life in Duino in the fall of 1906. In the appointment process for the successor to Boltzmann, Hasenöhrl had prevailed against his older colleagues Max Planck and Wilhelm Wien. Appropriately, this inaugural lecture, the only one largely written in shorthand, is an obituary of his predecessor (not identical with his Boltzmann obituary published in "Elektrotechnik und Maschinenbau" 41 [1906]). The remaining 28 chapters include "Kinematik des Punktes", Lagrange's equations, "Hamiltons partielle Differentialgleichung", and the theories of relative and cyclical movement. Red crayon markings indicate the progress made from session to session; individual problems are marked as having been treated in the seminary course rather than in the lecture hall. At the end (p. 305 ff.), Hasenöhrl has included the changes made for the 1910/11 winter semester (according to Bittner, Hasenöhrl again repeated the lecture in 1913/14). - Volume II contains the two-semester "Vorlesung über Mechanik der deformablen Körper" (winter semester of 1907/08: Elasticity; summer semester of 1908: Hydromechanics, of which latter course two weeks were lost due to the great student strike). Hasenöhrl prefixed a motto from Guido Ubaldi's "Paraphrasis in duos Archimedis aequeponderantium libros" (1588): "Quapropter ad Archimedem confugiendum est, si vera huius scientiae principia perdiscere cupimus." This volume likewise contains final changes made in 1911, constituting a thorough revision of pp. 90-101. In the summer of 1914 he revised the "slipshod pages 183 ff." about ray formation, which are partly struck out (p. 183f.), partly removed altogether (p. 185f.; the leaf is missing save for a narrow guard); these notes are followed by the sections "Allgemeines über Bewegung mit Rotationssym[m]etrie" and "Kreisförmige Wirbel" (13 pp. in total). Shortly before the end of the semester, the First World War erupted. Hasenöhrl, whose mother was descended from the old military nobility, volunteered for the infantry and was decorated after an injury in July 1915. In a battle near Folgaria he was killed by a shell splinter to his head on 7 October. - Although Hasenöhrl always spoke freely during his lectures (cf. Bittner, 198), rather than reading out a written text, as many of his colleagues did, it is clear that his presentation was based on minutely prepared notes. So closely did he compress the subject matter of his lectures that each session usually comprises a mere four to six pages in the manuscript; and still, we find in the text many tidily formulated paragraphs, including digressions on themes such as Sven Hedin's observations on the rivers of Tibet, which, when flowing south-north, are deflected eastwards - a practical example of relative movement. In his 1933 Nobel Prize acceptance speech, Erwin Schrödinger looked back on the gift of his teacher Hasenöhrl to discuss a subject matter in the lecture hall both extensively and closely: "The lecture cycle, which spanned eight semesters of five periods per week, treated the advanced theories of mechanics as well as the eigenvalue problems of continuum physics with the degree of detail that I would later need dearly - I have never been able to study from books with any ease [... He died in the War], and a feeling tells me that, but for that, it would be he who would be receiving this honor in my place today." In his 1904 treatise "On the Theory of Radiation in Moving Bodies", Hasenöhrl had applied the concept of "electromagnetic mass" to a cavity filled with radiation, arguing that any kind of thermal radiation provides such a body with an apparent increase of mass. This achievement, which makes the connection of energy and mass and - in its most radically compressed form "m = E/c²" - seems to anticipate Einstein's special theory of relativity, won Hasenöhrl the 1905 Haitinger Prize (at Boltzmann's suggestion) and was the basis for his appointment to the Vienna Chair of Physics the following year. In 1905, Einstein generalised Hasenöhrl's equation (which the latter had applied only to cavity radiation) and managed to embed it within an encompassing theory, thus arriving at the iconic "E=mc²" equation (for Hasenöhrl's role in the development of the equation cf. Stephen Boughn's recent article, "Fritz Hasenöhrl and E=mc²", in: The European Physical Journal H 38/1 [Jan. 2013], p. 1-18). Incidentally, Hasenöhrl taught Einstein's theory of relativity in his lectures - a highly uncommon course topic for the time. In 1911, Hasenöhrl participated in the historic first "Conseil Solvay", the invitation-only Brussels conference that united the world's elite of experimental and theoretical physicists to discuss the fundamental problems of their field. Themed "La théorie du rayonnement et les quanta", that first conference tackled the various approaches of classical physics and the emerging quantum theory; among the other participants were Einstein, Marie Curie, Ernest Rutherford, H. A. Lorentz, Wilhelm Wien, Heike Kamerlingh Onnes, and Henri Poincaré. Hasenöhrl also participated in the second Solvay Conference in 1913. - Edges slightly frayed and dusty, otherwise perfect. Of the utmost rarity: Hasenöhrl manuscripts are considered virtually unobtainable; auction records since 1975 list not a single leaf of writing in his hand (in contrast with more than 1000 records for Albert Einstein, more than 100 of which are manuscripts). The Göttingen State Library holds a 17-page transcript of Hasenöhrl's lecture on spherical functions (Cod. Ms. G. Herglotz E 15) in the hand of the student Gustav Herglotz (1881-1953), later professor of Mathematics at Leipzig and Göttingen. The Austrian Central Library of Physics keeps an archive of Hasenöhrl material: a single-box corpus containing mainly photographs, offprints, and photocopies of personal documents, but no manuscripts at all (with the exception of a single page of equations on the reverse of a letter from a bookseller). Several letters by Hasenöhrl are to be found in the personal archives of scholars (e. g., to Prof. Stefan Meyer, in the Archives of the Institute for Radium Research, Austrian Academy of Sciences). Cf. Lotte Bittner, Geschichte des Studienfaches Physik an der Wiener Universität in den letzten hundert Jahren (Vienna, Ph.D. thesis 1949), pp. 193-202 and 335-337. Cf. Stephen Boughn, "Fritz Hasenöhrl and E=mc²", in: The European Physical Journal H 38/1 [Jan. 2013], p. 1-18.
8vo (226 x 152 mm). Publisher's maroon cloth, lettered in silver on spine, original pictorial dustjacket. Author's presentation copy, inscribed on the title page in Hawking's own hand. This is a collection of densely mathematical papers given at a workshop on supergravity organized by Hawking. The dustjacket reproduces a blackboard covered with doodles by Martin Rocek and other attendees at the Nuffield Workshop, including a caricature of Hawking himself: the blackboard itself remained in Hawking's office in Cambridge until his death. A fine copy of the first edition. - Provenance: authorial inscription on title "Love from Stephen x x x"; Judy Fella (Hawking's first secretary and later PA and nursing co-ordinator: Fella typed up some of the manuscript for the work, and is depicted, as "one of the Fella's", in the cover artwork).
Oblong folio. 5 pp. (4 ff., a full sheet folded twice). Four voices with lyrics. From part II of Joseph Haydn's oratorio: the trio "Zu dir, o Herr, blickt alles auf" ("Poco Adagio"), arranged by the composer's brother for his Arnsdorf male quartet. The caption as well as the postscript (with a statement of provenance) are added by the flautist and violist Georg Johann Schinn (1768-1833), a student and friend of Michael Haydn's: "Von Herrn M. Haydn für 4 Männerstimmen arrangirt zu Armsdorf am 6ten October 1800. Vom Herrn P. Werigand Rettensteiner Pfarrer in Armsdorf die Original Partitur davon erhalten als Hochzeitgeschenk im 2. Dezbr. 1802". - From 1763 onwards, Joseph Haydn's younger brother served for 40 years as leader of the orchestra of Sigismund von Schrattenbach, the Salzburg Archbishop. The Arnsdorfer Benedictine monk Rettensteiner was a close friend who prepared German lyrics, copies, and adaptations for the male choir. For Michael Haydn he also translated numerous pieces of Latin liturgical music into German and collected material on Haydn's life and works. Much of this was used for the earliest biography of Michael Haydn, published by Schinn in 1808 (in collaboration with F. J. Otter). - Traces of an old vertical fold. Untrimmed, the final two leaves remaining uncut.
1 p. 8vo. Fine draft designed for an illustrated edition of "Feuilles d'Automne" ("Autumn Leaves") for which no record exists, entitled "La prière de la jeune fille" (The prayer of the young girl), signed "Victor Hugo prière pour tous" and the name of the artist Elise Boulanger.
1 p. on bifolium. 4to. To an unidentified "génèral", with a thousand thanks for "impenetrable" boots that serve Kapodistrias on his daily walks, writing that the granite of St. Petersburg is absent from Moscow and mentioning the fine days he spent Carlsbad. The Emperor, he says, favoured him with this holiday and promised Kapodistrias another leave for next year, which he hopes to spend in Carlsbad again. Kapodistrias wishes the "génèral" to join him there and mentions the thermal springs ("Sproudel"): "Mille et Mille graces, Mon Génèral. Les bottes impenetrables me servent tous les jours à la promenade. Nous n'avons pas ici le granit de S. Petersbourg. Ainsi vos bienfaits me sont doublement agréables et salutaires. On me fait payer avec les beaux jours de Carlesbad. [...] c'est que l'Empereur m'a promis une [...] vacance pour l'année prochaine, donc je ne manquerai pas d'en jouir egalement à Carlesbad. Tachez de ne pas vous mettre hors de partie - Et venez encore faire l'amateur au milieu des Aevenues du Sproudel - ces voeux sont très sincères [...]". - In early 1817, Kapodistrias's relationship to the Tsar was put to the test as a Greek adventurer, Nikolaos Galatis, came to St. Petersburg in the name of a leader of the "Filiki Eteria", the revolutionary secret organisation founded in Odessa in 1814, appealing to Kapodistrias to assume leadership of the movement for Greek independence. Although he was a fellow Greek, Kapodistrias declined, as he felt loyal to Czar Alexander, who was still committed to upholding the established order in Europe and had no interest in supporting a revolt against the Ottoman Empire. As the movement progressed, Kapodistrias eventually took leave from his position as Foreign Minister, returned to Greece and took an active role in the Revolution. He went on to serve as the first head of state of independent Greece (1827-31). Kapodistrias is considered the architect of Greek independence and a founder of the modern Greek state. - Very well preserved.
10 ff. of ms., with an additional f. of notes. 11 ff. altogether, written in ink on one side only, narrow folio format (c. 35 x 17 cm). Complete manuscript of the famous "Hoplopoiia" section of Kazantzakis's Iliad translation: a pivotal part of the 18th book (rhapsody sigma) of Homer's epic. Kazantzakis and the scholar J. T. Kakridis collaborated on this metrical translation from classical Greek into the modern demotic language over a 14-year period. When it was privately printed in 1955, the controversial effort was hailed as "'living' poetry, through which the modern Greeks will be able to grasp much of the vigour, the passion, and the values of the heroic world of the Iliad" (C. A. Trypanis, The Classical Review 8 [1958], p. 280). The "Hoplopoiia", or the "Making of Armor for Achilles", is one of the most famous parts of Homer's poem: After the death of Patroclus has convinced Achilles to re-enter battle and avenge his friend, his mother Thetis seeks out the smithing god Hephaistus, who fashions a new set of armour for him, among which is a magnificently wrought shield. The detailed description (ekphrasis) of this shield, which takes up most of the present ms., is regarded as one of the paramount passages in Western literature: starting from the center and moving outward, the shield shows first the heavenly bodies (Earth, sky and sea, the sun, the moon and the constellations), then a city at peace (a wedding; a lawsuit; council) and at war (opposing armies; the gods; an ambush); country life (ploughing and reaping; vintage; a herd of cattle attacked by lions; a sheep farm); dancing youths and maidens; and finally, the all-enclosing ocean stream. In essence, the shield offers a physical encapsulation of the entire world: the various layers of this microcosm present a series of contrasts, antitheses that show the basic forms of a civilized, essentially orderly life. Leading up to Achilles's return to battle and one of the bloodiest parts of the Iliad, the Shield Ekphrasis also provides a moment of calm before the storm. - Traces of horizontal folds. Numerous revisions, corrections, and insertions in ink and pencil; caption "Iliada 18 (S. 368-618)" broadly underlined in red crayon. In the final page of notes (written on the reverse of a leaf on which the beginning of the translation has been struck out), Kazantzakis states that this version is not to be considered final and will require revisions as to orthography and accentuation. While the present ms. was probably composed and revised over a period of several years (the variations in pen type and ductus pointing to at least three main stages), the statement that work had been ongoing for three years suggests a time frame around the year 1944. Includes Certificate of Authenticity, issued by Spanos Rare Books, Athens.
8vo. 9 ff. Draft letters that for the greater part do not have an identifiable correpondent and that show a lot of cancellations. Amongst other things Liszt speaks about attacs on his person: "Before reading. (to Mme P.) I have not yet read the recollections in question; but from what has come back to me from it, the author enjoys to make me just as ridiculous as detestable. [...] to some scandals I would not know what to oppose but tacit decency that does not entrap me at all and leaves others the burden of their debasement. [...] one or the other [has] previously written to me numerous letters of excitement about the nobility of my character and the straightness of my feelings. Concerning this, I will not deny at all and I will continue to ascribe to them their remarkbale and brilliant talents of Artists, writers and inventors, fully regretting that they so strongly turn them against my poor person (page no. 1). The sesond page can be identified as a draft letter to the Hungarian Nobleman Albert Apponyi (1846-1933), to whom Liszt writes about the Academy of Music in Budapest, his interest in Hungarian art and his desire to be useful for his country: "at the chamber of deputies the said academy would be useful to emphasize art in Hungary; [...] Can one not take into account similar precendents now and set back when one is concerned with going forward? I cannot and I position myself in your view as wisely as favourably. Despite of the difficulties of a situation confused by different obsessions and despite of the smallness of our financial means we definitely have to return to our plan and not become unmanagable. Regarding my 'personal conveniences' that you are so kind as to worry about, let me assure you once more that I do not aspire anything else than this: the peace to work in my room. Orare et laborare. The point of honour that noone but you will understand better attaches me to Hungary, our home country. Could I fill it with all my duty of recognition!" At the end of this side a fragement of a letter written in German can be found: "Honoured friend, Strongly attached to you with my heart and my spirit, I am rarely and insufficiently sad to be able to show you my sincere friendship. Many thanks for your kind letter and its joyful notification." - In another draft Liszt mentions the Villa d'Este, Cosima and Wagner as well as his mother (Marie d'Agoult, alias Daniel Stern): "After your departure from the Villa d'Este I wrote to Cosima and also spoke to her about your last incriminated articles. She answers to me [...] 'the Italien hou [...] seemed superbe to me'! But what did not at all seem superbe to me but on the contrary repellent, shameful and disgusting was the cunning and frivolous behaviour of Cosima's mother against her daughter. I mention it to you confidentially. [...] (page no. 3). - Enclosed one photography of Liszt mounted on cardboard by Nadar, shortly before his death in 1886. - Provenance: Robert Bory, musicologist.
8vo. 2 pp. on bifolium. With sealed autograph envelope "à mon fils le conte de Toulouse". Framed and glazed (double-sided, 370 x 339 mm). Beautiful letter to his son Louis-Alexandre de Bourbon, Count of Toulouse, during the Nine Years' War: "Jay receu vostre lettre du 19 avec les Cartes qui y estoient jointes continués a men envoier ou tous les camps que larmée ou vous estes soient marqués et travaillés autant que vous pouvés a vous instruire pour estre un jour capable de servir lestat. Mandés moy tout ce qui se passera qui en vaudra la peine. Il ne me reste qua vous assurer de mon amitié qui durera tant que vous la meriterés par la vostre et par vos actions" ("I received your letter of the 19th with the maps that were attached to it. Continue to send [maps] to me, where all the camps of the army of which you are part are marked, and work as much as you can in order to instruct yourself, so that one day you will be able to serve the state. Inform me of every change that is worth noting. I can only assure you of my friendship, which will last as long as you deserve it by yourself and by your actions"). - Louis-Alexandre de Bourbon (1678-1737) was the last legitimate son of Louis XIV. At the age of five he was named Admiral of France, and following his participation in the Nine Years' War on the Spanish Netherlands front, he rose to the honorary rank of lieutenant general of the King’s armies. In his actual military career, Louis-Alexandre de Bourbon successfully commanded the French fleet in the Battle of Málaga (1704). During the regency he served as minister of the Navy. - Minor browning and minimal tears to the folds.
Large 8vo. 1 p. on bifolium. To one "cher Camarade", probably written after the International Socialist Congress, sending the translation "du compte-rendu de la socialdémocratie polonaise, que vous avez si malheureusement omis dans le volume, édité par vous. Les camarades polonais sont très mécontents de cette omission [...]". - Left margin with punched holes (not touching text); on stationery with printed letterhead of "Hotel Polen" at Amsterdam.
4to. ¾ p. Final page of the broullion of a letter to an unidentified recipient, possibly to M. Perrier, director of the arsenal of Marseille, or Sucy, commissaire des guerres. The letter, which contained extensive instructions on the deployment of artillery, was obviously written at the end of 1793 or in early 1794, immediately after the Fall of Toulon, when the Republicans won an early victory over a Royalist rebellion and Napoleon was "inspecteur des côtes". The fragment preserved here begins with the words "Le fondeur est", which are struck out, then continues: "Roux, fondeur, ést venu me demander que l'on fixe le prix de sa journée. La municipalité doit fixer le maximum sur cet objet, comme sur tant d'autres. Je crois qu'il vaut mieux payer tant par quintal de balles que par jours. Vous pouvez, pour cela, faire fixer la journée qui doit toujours être l'élément de toutes les mesures". - Lower left corner torn off (not touching text); some brownstaining, otherwise a perfect sheet. Once in the collection of André de Coppet (1892-1953), now stored at the Firestone Library, Princeton. J. Arnna, Pages de l’épopée impériale (no. 6, reproduced on pl. XIV). Correspondance générale I, p. 155f., no. 130.
Altogether 315 pages on 186 ff. Mostly 4to and large 8vo. Remarkable series of 89 autograph letters and postcards to his publishers Hugo and Gustav Bock. To judge from the catalogue of Reger's letters made available online by the Max-Reger-Portal, only some 30 items in the present collection would appear to be recorded or published: some of them are to be found, often only in extract form, in Lotte Taube's "Max Regers Meisterjahre (1909-1916)" (1941); others survive institutionally in Meiningen in the form of transcripts. The correspondence reveals in great detail Reger's relationship with the Berlin publishing firm of Bote & Bock, discussing many of Reger's compositions, including op. 76, 82, 100, 106, 112, 113, 115, 117, 118, 120, 123, 125, 126, 128, 129, 130, some letters with musical examples. - Hugo Bock (1848-1932) had run the venerable German publishing house of Bote & Bock from the age of 23 and was largely responsible for building the company's international reputation; Gustav Bock (1882-1953) was Hugo's eldest son. In 1908, the year before the present correspondence begins, the company acquired the firm of Lauterbach & Kuhn in Leipzig, and thus the rights to much of Reger's music. This move angered Reger, who made it his aim to end his relationship with the company as quickly as possible. In the end, up to 1913, Bote & Bock published Reger's works bearing the opus numbers 103b to 129, among them the third clarinet sonata (op. 107), the three Geistliche Gesänge (op. 110), as well as the great Meiningen orchestral works. The last letter in the series dates from August 1915; only nine months later the composer was dead. - Some letters docketed by the recipients, some with punch holes, a few newspaper cuttings. Overall in good condition. Jürgen Schaarwächter, ed., Max Reger: Briefe an den Verlag Ed. Bote & G. Bock [Schriftenreihe des Max-Reger-Instituts, Band XXII] (2011); Max-Reger-Portal (Max-Reger-Institut/Elsa-Reger-Stiftung).
4to. 40 pp. Important working manuscript with reading notes of de Sade from Livy and concerning the history of the Etruscans. Many paragraphs are underlined or circled. Notes and insertions in the margins reveal repeated readings. Notes are in chronological order. - Having returned from Italy in 1776, Sade was jailed at Vincennes as early as 1777. There, he worked on the redaction of his Travel in Italy. For this purpose, he collected details, read old and modern writers, historians, travellers, and philosophers, including Livy. Even though his work had progressed, Sade abandoned his project of a travel narrative around 1782.