SENDAK (Maurice)Biblio.com
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19851838<p><em><strong>SENDAK and CALDECOTT</strong></em></p><p><em>A watercolor in homage of his muse</em></p><p>Original ink and watercolor drawing depicting Moishe "Wild Thing" Sendak's avatar mimicking the artist Randolph Caldecott's self-caricature drawing from his period of sketching in Brittany 1870s now given a garden backdrop and including "The Cat and the Fiddle" Caldecott's dog and a blackbird aloft – with a Wild Thing to bring home the sentiment.</p><p>The design was commissioned by The Horn Book Magazine a Boston based publication which since inception in 1924 used the "Three Jovial Huntsmen" Caldecott image 1880 on horseback blowing their horns until in 1985 when the publication decided to invite a different illustrator to design new covers for a year – Maurice Sendak was their first choice and Maurice continued their honoring Caldecott by his "Moishe and Randolph" interpretation.</p><p>The ink and watercolor drawing measures 9 x 6-1/4 inches on larger paper Signed in full at bottom right the initials "R.C." and "M.S." are on Caldecott's sketchbook pages.</p><p>Aside from the image being used as the magazine cover a poster limited to 300 signed and numbered copies was also produced.</p><p>Maurice Sendak was a Brooklyn-born artist best remembered for his iconic book</p><p>"Where the Wild Things Are" published in 1963 and winner of The 1964 Randolph Caldecott Medal for the "most distinguished American picture book for children" given annually by the American Library Association's Children Services division. Sendak has written and illustrated numerous children's books created designs for posters prints book covers advertising campaigns and also many costume and set designs for opera and ballet.</p><p>This particular design honors Randolph Caldecott one of the major illustrators of his day and one of the many major influences in Maurice's canon of work.</p>
19712820DIOGENES 1971. 1. hardcover. Arsène Lupin Sirmkovrilo! KLASSISCHE ABENTEUER DIOGENES hardcover
1907579131907. Fine. ca.1907-2003 30 x 32 cm Maurice BLANCHOT Extraordinary collection of Maurice Blanchot's original photographs taken in the family setting the only printings C. 1907-2003 272 photographs various format Blanchot challenged photographers and caricaturists of the literary press for a long-time. His 'portraits' over so many years are minimalist and rare: in 1962 in L'Express a hand holds up a book at the bottom of the page; in 1979 in Libération a blank square is in the middle of the page with only Maurice Blanchot's name and a quote from the Entretien infini as a caption: an empty universe: nothing that was visible nothing that was invisible' C. Bident Maurice Blanchot. In 1986 at the time of an exhibition of writers' portraits he requested that his photo be replaced by a text showing his desire to appear as little as possible not to glorify his books but to avoid the presence of an author who was entitled to an independent existence. A photo taken without him knowing by a paparazzi in a supermarket carpark was used as the writer's portrait for a long time before his friend Emmanuel Levinas revealed a few rare photographs of their youth. The fact that Maurice Blanchot did not oppose this release and the fact that this was his closest friend's deed could be explained by what Bident calls the spacing of worry as the revealed portraits were not up-to-date similar to the postponed publications of his books L'Idylle Le Dernier Mot L'Arrêt de mort. Only a few photographs gathered on the central pages of the Cahiers de l'Herne issue dedicated to Maurice Blanchot and published in 2014 supplement these unique shots of the 20th-century's most secret writer. In his chapter The indisposition of the secret Christophe Bident devotes several pages to the almost total absence of images of this invisible partner questioning the intellectual and psychological motivation of the writer who was aware of the inevitable future revelation of his appearance: Everything must become public. The secret must be told. The darkness must emerge. That which cannot be said must however be heard. Quidquid latet apparebit all that is hidden is that which must appear. Maurice Blanchot L'Espace littéraire In general Maurice Blanchot refused to be photographed even in private life as confirmed by the family of his sister-in-law Anna who revealed in a letter to her nephew that she had not taken any photographs of the writer thus respecting his wishes. However the photographs taken with his close family show us a perfectly willing Blanchot and one even playing very elegantly with the image of himself that he projects to the photographer generally his brother. As such we discover an elegant man posing proudly on a boat pontoon or on the banks of the Seine or more mysteriously playing with lighting effects in the corner of an empty room. Here we see a real photographic staging and a symbolic reappropriation of image particularly in a surprising seated portrait of the writer holding the Inconnue de la Seine death mask in his arms the well-known plaster head of a young woman supposedly drowned who adorned artists' studios after 1900. A true romantic legend this sculpture with a mysterious post-mortem smile is at the heart of Aragon's novel Aurélien and haunts the work of artists at the beginning of the century including Rainer Maria Rilke Vladimir Nabokov Claire Goll Jules Supervielle Louis-Ferdinand Céline Giacometti and Man Ray who produced a worrying photographic portrait of the mask at Aragon's request. Maurice Blanchot described the unknown woman as an adolescent girl with her eyes closed but full of life with a smile so slender so rich . that we could believe that she was drowned in a moment of extreme happiness. This photograph of an impervious Blanchot cradling the white mask of the Mona Lisa of suicide asserts itself as a true deconstruction of representation. It becomes an ill unknown
31436Paris Bernard Grasset 29 septembre 1925. 1 vol. 115 x 180 mm de 349 p. et 1 f. Maroquin brun dos à nerfs faux nerfs à froid sur les plats titre doré date en pied contreplats à encadrement ornés de filets et pointillés dorés doubles gardes de soie moirée et papier marbré double filet doré sur les coupes tranches dorées sur témoins couvertures et dos conservés reliure signée de G. Lévitsky - conservé dans un écrin signé de Renaud Vernier : bois d'ébène lettre mosaïquée en bois de rose buffle assorti sur les deux rabats intérieurs avec titre doré chemise et étui bordés. Édition originale. Un des 13 exemplaires sur japon celui-ci hors-commerce n° III. Exceptionnel exemplaire de l'auteur qui l'a fait relier avec : - la lettre autographe collective des membres de l'Académie Goncourt signée par chacun d'eux et datée du 16 décembre 1925 1 p. en 1 f. à en-tête de l'Académie l'enveloppe à en-tête remise place Gaillon et qui lui annonce qu'il est couronné du prix ; - Les 5 dessins originaux d'André Deslignères du croquis à la maquette finale qui ont servi au bois gravé pour l'illustration de la couverture 5 f. mine de plomb encre et crayon de couleurs rouge. Une seconde couverture illustrée d'un bois de Gérard Cochet et qui fait partie intégrante de l'édition est bien présente dans l'exemplaire. . Emouvant et historique exemplaire qui contient la notification originale qui annonce à Genevoix qu'il est primé. Ce volume a figuré dans l'exposition « Maurice Genevoix » organisée à la Bibliothèque historique de la Ville de Paris 12 décembre 1990 - 12 février 1991 n° 200 du catalogue. Monté en tête : « Monsieur et cher confrère Nous avons l'honneur et le plaisir de vous faire savoir que l'Académie Goncourt vous a attribué le prix de 1925 pour votre livre : Raboliot. Veuillez agréer Monsieur et cher confrère nos meilleurs sentiments. Gustave Geffroy J. H. Rosny aîné J. H. Rosny jeune Léon Hennique Raoul Ponchon Léon Daudet Pol Neveux Jean Ajalbert et Lucien Descaves pouvoir signé par Geffroy ». Ce 16 décembre 1925 les dix - réduits à huit ce jour-là par le décès de Élémir Bourges et l'absence de Lucien Descaves qui votait par correspondance se réunissaient pour la vingt-troisième fois. Parmi les concurrents citons Henri Pourrat et pas moins de cinq auteurs des éditions Gallimard : Drieu La Rochelle Jouve Beucler Deberly et Bloch. Face à cette armada Raboliot sort du chapeau au deuxième tour luttant ensuite avec Jouve et son Paulina 1880 3 voix chacun pour finalement l'emporter au cinquième tour avec cinq voix. Sous Verdun en 1916 avait failli connaître les honneurs du prix avant que Le Feu de Barbusse et L'Appel du sol d'Adrien Bertrand ne viennent pour diverses raisons lui couper l'herbe sous le pied. Rémi des Rauches en 1922 fut également sélectionné. Or un an avant que ne soit publié Raboliot une rencontre décisive a lieu avec Lucien Descaves figure importante de l'académie Goncourt : « Genevoix il faut que je libère ma conscience. Nous souhaitons et depuis longtemps vous attribuer notre prix. "Nous" c'est une majorité. Malheureusement pour vous il y a un veto. Rosny aîné notre président pour des raisons que nous n'avons pas à connaître nourrit un tel ressentiment à l'encontre des frères Fischer qu'il s'est fait à lui-même un serment : jamais au grand jamais lui vivant le prix Goncourt n'ira à un auteur de la maison dont ils sont alors les directeurs littéraires. - Alors je dois en faire mon deuil. - Et pourquoi diable - Parce que je suis lié à cette maison par un contrat de quinze années. - Et après - Il y en a encore neuf ans à courir. - Et puis après redit Descaves. Je vous garantis bien que si votre prochain roman vaut votre Rémi des Rauches vous ne manquerez pas d'éditeurs qui prendront les risques d'un procès. Moi je vous aurai dit ce que je voulais vous dire. Concluez. » in Trente mille jours p. 224. Ce fut Bernard Grasset par l'intermédiaire de Louis Brun qui prendra ce risque au terme de mois de batailles de lettres d'avocats et de mises en demeure entre février et juillet 1925. Jusqu'à un procès gagné pour l'essentiel : une dérogation est donnée à Genevoix pour trois ouvrages en dehors de la maison Flammarion. Raboliot dont le manuscrit est terminé depuis le 23 janvier 1925 sera donc publié chez Grasset avec qui le contrat est signé à l'été. L'ouvrage achevé d'imprimer le 29 septembre paraît en octobre et connaît un succès immédiat. Fort de ces alignements de planètes Louis Brun qui a pris Genevoix sous sa coupe lui donne quelques instructions et le matin du 16 décembre lui conseille de déjeuner non loin de la place Gaillon chez Emil's presque en face de chez Drouant. La veille il avait accepté un entretien avec le célèbre critique Frédéric Lefèvre pour son papier « Une heure avec » des Nouvelles littéraires. « Un signe. Presque une consécration déjà » pressent-il. Le 16 décembre Genevoix s'installe avec son oncle et sa tante pour un déjeuner d'attente dont les minutes lui paraissent des heures. Enfin à 13h lorsqu'est annoncée sa victoire c'est Louis Brun une horde sur ses talons qui lui annonce la bonne nouvelle. Un journaliste du Figaro est le premier à recueillir ses impressions : « C'est là qu'en compagnie de quelques amis nous lui avons porté nous-mêmes la bonne nouvelle en lui remettant le pli officiel signé des "neuf" qui lui annonçait son succès. Aussitôt son fin visage intelligent s'anime s'éclaire et une grande joie se lit dans ses yeux : "Dites bien surtout ma reconnaissance profonde à tous les membres du jury à tous ceux qui ont voté pour moi comme aux autres et en particulier à MM. Descaves Geffroy et Hennique qui ont toujours encouragé mon effort" ». Genevoix offre ainsi à Bernard Grasset son troisième lauréat - après le doublé 1911-1912 obtenu avec le Monsieur de Lourdines d'Alphonse de Châteaubriand et Les Filles de la pluie d'André Savignon. 15 titres primés du Goncourt suivront chez Grasset Peyré Charles-Roux Laurent Chessex Maillet Bodard Fernandez Host Vautrin Combescot Maalouf Rambaud Quignard et Weyergans. Et ce 16 décembre est une journée faste pour l'éditeur de la rue des Saints-Pères : Le Femina dans la foulée couronne Joseph Delteil avec son Jeanne d'Arc. Orléans cette année là est donc doublement à l'honneur dans les prix littéraires ! Depuis 1919 Maurice Genevoix est revenu vivre près de là à Châteauneuf-sur-Loire où il a grandi. Mais après Rémi des Rauches publié en 1922 qui mettait en scène la Loire par la grâce d'un tonnelier Genevoix veut traverser le fleuve : au sud commence la Sologne qu'il explore depuis son retour dans la région. Dès son retour du front et pour sa convalescence il recommence à marcher arpente les forêts écoute les hommes observe la nature. Plusieurs séjours sont attestés en son coeur à Brinon-sur-Sauldre à Nouan-le-Fuzelier à Lamotte-Beuvron où il s'imprègne des moeurs des récits et du parler local. Il fait sienne l'idée d'en dire davantage : « je voulais faire pour la Sologne ce que j'avais fait trois ans auparavant pour le Val de Loire : l'évoquer la traduire selon moi mon engagement depuis l'enfance ma gratitude pour tout ce qu'elle était à mes yeux ». C'est à Brinon qu'après la guerre son oncle avait acquis un territoire de chasse ; c'est là que cédant peut-être au même appel et même élan vers la nature Maurice Genevoix décide de s'installer au cours de l'été 1924 : « Je pris un soir mon vélo à l'épaule le petit train sur route qui me conduirait à Brinon. J'y arriva à la brunante sautai en selle et mit pied à terre après six kilomètres devant la maison du garde-chasse Trémeau » in Trente mille jours p. 200. C'est là face à l'étang des Clouzioux qui devient celui de la Sauvagère dans le roman - que ses cogitations prennent formes : « la Sologne est éminemment giboyeuse. Le héros de mon futur roman vrai fils de ce terroir de chasse ne peut donc être qu'un chasseur : non un chasseur occasionnel un quelconque tirailleur du dimanche mais un chasseur d'instinct un homme libre insoucieux des contraintes sociales qui ne relève que de sa race des appels qui le sollicitent et l'obligent autrement et précisément dit : un braconnier ». Brinon est la commune natale de celui qui est « le plus fameux le plus malin le plus habile le plus sensationnel braco du cru : Alphonse Depardieu » dit Carré avec lequel Genevoix obtient une « audience » à l'automne quand la certitude du roman et le bal de ses personnages se mettent en place. Un rendez-vous est pris à Brinon. Un rendez-vous manqué : suspicieux le braconnier ne s'y rendra pas. Il n'empêche ; Genevoix décidé à façonner ce braconnier universel en fusionnant plusieurs personnages tous bien réels va créer « son » braconnier : Pierre Fouques dit Raboliot. Maurice Genevoix racontera précisément dans Jeux de glaces en 1961 cette rencontre avortée avec Carré-Depardieu lequel « n'a pas été le dernier à prétendre à croire peut-être qu'il m'avait servi de modèle. Et vraiment je lui dois beaucoup à cet homme qui n'est pas venu un jour de l'automne 1924 dans l'arrière-salle de l'auberge rustique où je l'ai vainement attendu » p. 90. Il y explique également le sobriquet de son héros : le nom de Raboliot - désignant un jeune garenne encore au nid dans la « rabolière » - lui vient des chasseurs solognots : vif rusé libre. De Brinon-sur-Sauldre Genevoix aura beaucoup pris tel un épicentre idéal : la commune est tout simplement celle du département qui occupe - encore aujourd'hui - la plus grande superficie territoriale : elle s'étend sur 11600 hectares et est sillonnée par quelque 340 km de chemins ruraux ! En 2025 seules 132 communes en France occupent plus de 100 km2 de superficie. Ce précieux exemplaire sur japon va être confié par Maurice Genevoix à Grégoire Guimpel-Levitzky 1885-1969 avec les dessins préparatoires originaux d'André Deslignères pour la couverture de l'édition. Notons qu'une seconde couverture illustrée d'un bois de Gérard Cochet est ajoutée aux seuls exemplaires imprimés sur grands papiers. Elle est ici bien présente. D'origine ukrainienne né à Odessa où il se forme à la reliure Grégoire Levistzky doit s'exiler en 1905 fuyant la violente répression de la révolution russe et les massacres proférés à Odessa. Il rentre comme ouvrier chez le relieur Hippolyte Prouté avant de rapidement ouvrir son atelier rue de l'Odéon à partir de 1910. Il se fait d'abord remarquer par des « cartonnages en vélin décoré et enluminé » Julien Flety Dictionnaire des relieurs français p. 113 avant de devenir un convainquant façonnier dans le traitement des maroquins jansénistes ou à décor. Il n'est pas impossible que ce soit Louis Brun éminent bibliophile qui ait conseillé à Genevoix de se tourner vers Levitzky pour établir l'exemplaire. Dans la bibliothèque de l'auteur c'est le seul livre qui ait reçu un traitement aussi précieux ; tout au plus donnera-t-il à un relieur local Carrey ses autres ouvrages en grands papiers pour sa bibliothèque personnelle. Cet exemplaire de Raboliot ne quittera jamais Genevoix ; il le conserva aux Vernelles au plus proche de lui dans son bureau qui fait face à la Loire et à la Sologne. L'exemplaire est maintenant conservé dans un précieux écrin d'ébène signé du maître d'art Renaud Vernier. Pièce d'exception. Paris, Bernard Grasset, (29 septembre) 1925. 1 vol. (115 x 180 mm) de 349 p. et [1] f. Maroquin brun, dos à nerfs, faux nerfs à unknown
192531436L'historique exemplaire du prix Goncourt Paris, Bernard Grasset, (29 septembre) 1925. 1 vol. (115 x 180 mm) de 349 p. et [1] f. Maroquin brun, dos à nerfs, faux nerfs à froid sur les plats, titre doré, date en pied, contreplats à encadrement ornés de filets et pointillés dorés, doubles gardes de soie moirée et papier marbré, double filet doré sur les coupes, tranches dorées sur témoins, couvertures et dos conservés (reliure signée de G. Lévitsky) - conservé dans un écrin signé de Renaud Vernier : bois d'ébène, lettre mosaïquée en bois de rose, buffle assorti sur les deux rabats intérieurs avec titre doré, chemise et étui bordés. Édition originale. Un des 13 exemplaires sur japon, celui-ci hors-commerce (n° III). Exceptionnel exemplaire de l'auteur qui l'a fait relier avec : - la lettre autographe collective des membres de l'Académie Goncourt, signée par chacun d'eux et datée du 16 décembre 1925 (1 p. en 1 f. à en-tête de l'Académie + l'enveloppe à en-tête), remise place Gaillon et qui lui annonce qu'il est couronné du prix ; - Les 5 dessins originaux d'André Deslignères, du croquis à la maquette finale, qui ont servi au bois gravé pour l'illustration de la couverture (5 f., mine de plomb, encre et crayon de couleurs rouge). Une seconde couverture, illustrée d'un bois de Gérard Cochet et qui fait partie intégrante de l'édition, est bien présente dans l'exemplaire.
1950154025Paris & New York: L'Image Littéraire & R. Finelli-Feugère 1950. With an additional suite of Braque colour separations First edition first printing number 29 of 150 copies signed by all the artists and authors with each print numbered and signed by the respective artist and Robert Rey. This copy with an additional suite of 46 sheets with colour separations of Braque's print housed in separate wrappers lettered in black. The print titles included are: Braque "Nature morte au huitres"; Brianchon La neige a auteuil; Chagall La sirène; Desnoyer Liseuses au bord de mer; Dufy Le casino de la jetée a Nice; Laurencin Portrait de femme en rouge; Matisse Nature morte au magnolia; Picasso La cassarole Émaillée; Utrillo Le jardin de Montmagny; Van Dongen Tête de femme; Vlaminck Les blés dans la perche; and Waroquier Dolori sacrum. Folio. 12 colour woodcuts after each of the artists printed on Van Gelder Zonen wove paper with one edge untrimmed. Sheet sizes: 46.5 x 36 cm. Unbound sheets printed on Van Gelder Zonen wove paper in white wrappers titles to front cover in red. With glassine dust jacket. Housed in the publisher's blue morocco clamshell box titles to front cover and spine gilt. All contained in the original card packing box. Closed tear to front wrapper and glassine hinge of clamshell box split minor foxing in places otherwise a bright unfaded set. unknown
20011112105<p>Two pieces being an original watercolor and pen on paper illustration and a pencil study for the same piece. The two images are framed and matted together. Created in 2001 for the first Little Bear story by Else Minarik that the pair had worked on since the 1968 publication of <em>A Kiss for Little Bear</em>. The story and image were published in Nick Jr. magazine December/January 2002. Each image in 8 1/2" x 6 1/2" and the pair are framed to 16" x 22".</p><p>If you are interested in purchasing only one of the two pieces please reach out to us at our email address for more information.</p>
19791112104<p>An etching of an original image of a wild thing created and signed by Maurice Sendak on arches paper. Though there is no limitation number on the etching there were three separate pressing of three copies each done of this etching and signed by Sendak. The image itself measures 20 3/4" by 16 3/4". </p>
2004VBF08<b>SENDAK</b> Maurice<br /><br /><b><i>"Give and Take"</i></b> <b>original pencil study</b> for contribution to Marlo Thomas' THANKS & GIVING All Year Long<br /><br />New York: Simon & Schuster Books for Young Readers 2004<br /><br />This fine <b>Wild Thing fantasy drawing</b> was prepared for a cumulative celebration of original donated texts illustrated art music &c on behalf of St Jude Children's Research Hospital charity. The images may have been suggested by a story "The Birthday Doll" which precedes the Sendak illustration although Maurice has re-imagined the scenario to make it entirely his own. The images are brilliant and demonstrate the importance of sharing. The actual drawing measures 10-3/4 x 8 inches on larger paper matted with UV Protective clear museum-glass in a wooden frame.<br /><br />This original pencil study was given by the artist to his close friend Lynn Caponera and acquired directly from her. The finished watercolor is in the permanent collection of Marlo Thomas. Simon & Schuster Books for Young Readers books
1973BB011SENDAK MAurice<br />MAX - Where The Wild Things Are Animation 1973<br />A series of seven character sketches of the protagonist Max dressed in his wolf suit intending to show the animators how the figure should move throughout the animated film.<br />Weston Woods Studio under the leadership of Morton Schindel introduced film strips in 1968 and eventually translated popular children's picture books into animated films for American schools. In 1973 he developed a rendition of Sendak's WILD THINGS created under the direction of Gene Deitch in Prague which proved a great success. Sendak put together this study sheet showing a variety of hand and foot gestures head motions &c with both front and partial profile views. Each of the seven sketches he has annotated below then writing a full line of extended text across the bottom: <i>"Note: all of this should be more agitated - more stacato ! - all sharp pointing stabbing gestures - Hitler moves : harsh sharp goose-stepping gestures"</i> with his signature at far right "M Sendak". <br />The drawings are first sketched in pencil and then further developed in ink using a pentel felt tip pen on smooth matte paper. A few copies were photographically reproduced to send to Czechoslovakia for animators to follow but this sheet is the actual artwork. books
1955135433New York: Harper & Brothers 1955. First edition first issue of the first book in Crockett Johnson’s charming Harold series first issue with "30-60" and "No. 5671A" to the front flap of the dust jacket. 12 mo original cloth illustrated. Association copy inscribed by the author on the front free endpaper to fellow children's book author and illustrator Maurice Sendak "To Maury with fond regards Crockett Johnson." The recipient Maurice Sendak is best known for his immensely popular illustrated children's book Where the Wild Things Are which was awarded the Caldecott Medal in 1964 and gained him international fame. Sendak Johnson and Johnson's wife Ruth Krauss were introduced by Harper & Row publisher and editor-in-chief of juvenile books Ursula Nordstrom in 1952. Nordstrom facilitated the partnership of Krauss and Sendak as author and illustrator of Krauss' A Hole Is to Dig 1952 which launched Sendak's career and was published 3 years before Harold and the Purple Crayon. Sendak would go on to illustrate seven additional Krauss titles and their collaborations became something of a cultural phenomenon spawning a host of imitators of their "unruly" and "rebellious" child protagonists. These "good books for bad children" became Nordstrom's trademark who disliked the genteel sentimental tone of earlier American children's literature and sought to change its purpose to appeal to children's imaginations and emotions rather than serve as adult-approved morality tales. In addition to Harold and the Purple Crayon 1955 and Where the Wild Things Are 1963 Nordstrom edited and published numerous milestones of children's literature including E. B. White's Stuart Little 1945 and Charlotte's Web 1952 Margaret Wise Brown's Goodnight Moon 1947 Louise Fitzhugh's Harriet the Spy 1964 and Shel Silverstein's The Giving Tree 1964. Near fine in a near fine dust jacket. Housed in a custom half morocco clamshell box by the Harcourt Bindery. An exceptional association. Crockett Johnson— the pen name for David Johnson Liesk—was “a cartoonist whose simplest sparest and boldest outlines produced unforgettable gently humorous and always endearing caricatures… His natural gift for drawing and writing from a young child’s viewpoint enabled him to craft more than 20 juvenile books†including this his most popular one. “With the fewest of lines Johnson depicts Harold as a toddler clad in sleepers his chubby hand gripping a fat plum-colored crayon. From page to page the thick firm purple mark delineates Harold’s actions against the stark white background so effectively and ingeniously that the crayon is as much a character as Harold. The same economy that informs Johnson’s art permeates his text; he writes so concisely of Harold’s moonlight stroll that his style perfectly echoes the clarity of his boldly outlined cartoon illustrations†Silvey 355. Harper & Brothers hardcover
1864564j1976Bruxelles: Imprimerie de A. Mertens et Fils. Fair with No dust jacket as issued. 1864. First Edition. Hardcover. Is this book the plagiarized source of The Protocols of the Learned Elders of Zion "In his 1870 autobiography Maurice Joly 1829-1878 described how he conceived the idea of a dialogue between Montesquieu and Machiavelli. At that time it was forbidden to openly criticize the regime of Napoleon III but in this way it would be possible through the mouth of Machiavelli to expose the Emperor's motives and methods stripped of the usual camouflage. Thus this book was printed in Belgium and smuggled into France but was immediately seized by the police banned and Joly arrested. Thus few copies survive. Joly's reflections on the despotism of Napoleon III provide insights applicable to authoritarian regimes of today. Moreover something of Joly's insights even survived when his book was transformed into The Protocols of the Elders of Zion thus The Protocols often seem to forecast twentieth-century authoritarianism." - pages 73-76 of Warrant for Genocide by Norman Cohn in which he claims over 160 passages in the Protocols are clearly based on passages in Joly. "The Protocols of the Wise Men of Zion were first circulated in Russia in the early years of the twentieth century purportedly an account of a meeting between Jewish leaders in the fall of 1897. A horrible plot to undermine society overthrow governments and destroy Christianity is revealed. The 'minutes' are copied verbatim from A Dialogue in Hades Between Machiavelli and Montesquiou written by Maurice Joly. The 'Protocols' merely substituted the word 'Jew' for Joly's own devils." - Footnotes to pages 423-424 of Mein Kampf Reynal & Hitchcock 1939. Others argue that Joly's work was not the source of The Protocols. We leave it to the reader to decide. 4 i-iii iv 337 1 1 errata p. 18.0 x 12.4 cm. Text in French. Tight maroon quarter leather binding with new leather spine and leather title label. Wear to periphery of older marbled boards which are probably not original. Bookplate of Dr. J.A. Van Praag 1895-1969 inside front board. Van Praag was a lecturer at the University of Amsterdam when he acquired this book in 1931 and wrote his name atop the first blank leaf along with a comment about the purported connection of the book to The Protocols. He also wrote Joly's name on the title page. Pencil notes on pages 47 80 and 94. Evidence of moisture exposure to endpapers and more moderately to contents. Negligible if any waviness to contents. All text clearly legible with pages intact. Includes new custom acid-free clamshell with leather title label upon spine. A rare first edition example of this most contentious work. Provenance: Acquired from an Israeli dealer who purchased it at an Israeli auction which only sells books offered by Israelis. Our research indicates that at least some of Van Praag's books were looted by the Nazis in 1941. Apparently he retired in 1966 and attempted to rebuild his library. However after a fire in his widow's home in 1970 part of the library was destroyed or damaged and she sold the remaining books. We have no definitive way of knowing if this book was looted from Van Praag or if it was if he ever re-acquired it. Perhaps he did re-acquire it only to have it exposed to moisture per our description by firefighting efforts in his widow's home; 12mo . Imprimerie de A. Mertens et Fils hardcover
1953176047St Albans: Fisher Knight & Co. Ltd 1953. The founding document of modern biology owned by a prominent biologist First edition the three-paper offprint issue of the primary record of the co-discovery of the molecular structure of DNA. This copy is from the library of Professor Hans Gustav Boman 1924-2008 the leading molecular biologist in Sweden; his signature is in ink on the first page. Three research groups independently investigated the structure of DNA in England in the early 1950s: Francis Crick and James Watson at the Cavendish Laboratory in Cambridge and two teams at King's College London comprising Maurice Wilkins Rosalind Franklin Raymond Gosling Alec Stokes and Herbert Wilson. To acknowledge the simultaneity of the discovery the directors of the respective institutions agreed that the three resulting papers would be published under the general title Molecular Structure of Nucleic Acids in the British scientific weekly Nature. Crick and Watson's paper "A Structure for Deoxyribose Nucleic Acid" is illustrated with a schematic drawing by Odile Crick of the twisted-ladder structure of DNA now famously known as the double helix. Wilkins Stokes and Wilson co-wrote "Molecular Structure of Deoxypentose Nucleic Acids" the second paper. Franklin and her research student Gosling submitted "Molecular Configuration in Sodium Thymonucleate" which features a half-tone illustration of Gosling's iconic X-ray "Photograph 51" of crystallized DNA. Franklin died four years before the Nobel Prize in Physiology or Medicine was awarded to Crick Watson and Wilkins in 1962 for their work on DNA but without question her "contributions and indeed her actual X-ray data were crucial to the total achievement" ODNB. "Two offprints exist of Watson and Crick's paper: a single sheet containing the Watson and Crick article only and a fourteen-page pamphlet containing the papers of all three research groups. The pamphlet pages are smaller in size than the single leaf which has the same dimensions as the leaves of the journal and the layout is different the single-leaf offprint being printed in two columns like the journal the pamphlet in single-column pages. The page breaks are different in each of the two offprints and the journal as is the placement of the illustrations relative to the text. Despite these differences all three versions appear to have been printed from the same setting of type except that in the two offprints one paragraph of text has been reset to accommodate the placement of the diagram of the DNA molecule" Grolier p. 363. Haskell F. Norman discusses the difficulty in establishing priority between the two formats in his introduction to One Hundred Books Famous in Medicine and closes by stating that "it is now our tentative conclusion that the three-paper offprint is the first issue" p. xxi. Boman "was one of the pioneers in the field of molecular biology in Sweden" Norrby p. 11. After teaching at Uppsala University he transferred to Umeå University to establish their microbiology department; under his leadership it became an international hub of research excellence. "Halfway through his career Boman moved on to Stockholm University and initiated a completely new line of research. It pioneered the development of insights into the emerging field of natural immunity. He developed this work in collaboration with Swedish colleagues and coined the term cecropines for this new kind of peptide antibiotics. This was a Nobel-class discovery" but - like Franklin - Boman died before he could see his research recognized as such Norrby p. 11. In 2011 his work formed the basis of a discovery by Jules Hoffman and Bruce Beutler for which they received the Nobel Prize in Physiology or Medicine. Octavo pp. 14. With 4 illustrations. Printed pamphlet wire-stitched as issued. A few neat red pencil marks to first three pages lower outer corners creased: a near-fine copy. Garrison-Morton 256.3 Crick and Watson's paper; Grolier One Hundred Books Famous in Medicine 99; Heirs of Hippocrates 2342. Erling Norrby Nobel Prizes: Cancer Vision and the Genetic Code 2019. unknown
18962430Boston 1896. Manuscript book. In original black leather by Frank J. Barnard signed on the recto of the last leaf with clasp gilt title on front panel gilt edges gilt turn-ins. Pastedowns and flyleaves are covered with white moiré. Moiré detached from the flyleaves discolored at the rear. Some of the tracing paper leaves are creased few with closed tears. Stains to the gutter at the rear no effect on text. Binding slightly rubbed with three small barely visible holes. Overall in very good condition. Calligraphed manuscript in ink by H. C. Kendall signed on the verso of the first leaf. Each page written in different calligraphy style. Text in English. With a mounted portrait transferred on porcelain of Baron Hirsch on the second leaf. Calligraphed manuscript in ink by H. C. Kendall signed on the verso of the first leaf. Each page written in different calligraphy style. Text in English. With a mounted portrait transferred on porcelain of Baron Hirsch on the second leaf. Manuscript book. In original black leather by Frank J. Barnard signed on the recto of the last leaf with clasp gilt title on front panel gilt edges gilt turn-ins. Pastedowns and flyleaves are covered with white moiré. <p><br /> A memorial album commemorating the death of the greatest Jewish philanthropist of the nineteenth century Baron Maurice de Hirsch offered by the Jews of Boston to his widow and family.<br /> <p><p><br /> This delicate memorial album signed by twenty-two representatives of Jewish associations of Boston was prepared by the commission of the Boston Jews under the auspices of the American Committee here Society for Ameliorating the Condition of Russian Refugees an umbrella organization of various groups concerned with the welfare of the immigrants co-founded by the Hirsch Fund and was offered to the widow and the family of Baron de Hirsch. The album is a piece of very fine craftsmanship calligraphed by H. C. Kendall an "artist penman" and Principal of the Normal Writing Institute in Boston and bound by Frank J. Barnard the industry leader bookbinder in Massachusetts. The text consists of profound quotes about human greatness from William Dean Howells and Julia C. R. Dorr and the eulogy delivered at Temple Ohabei Shalom.<br /> <p><p><br /> Baron Maurice de Hirsch 1831-1896 was a German Jewish financier and philanthropist born into a wealthy landowner and banker family in Bavaria. In 1855 Hirsch married Clara Bischoffsheim daughter of a Belgian banker and became associated with his father-in-law's banking house. He amassed a large fortune and became one of the top five richest individuals in Europe at the time. Baron de Hirsch set up charitable foundations promoting Jewish education especially in Russia and after an unsuccessful offer of 50000000 francs to the Russian government to be used for purposes of Jewish education in 1891 he founded the Jewish Colonization Association the greatest charitable trust in the world to provide the funds for extensive Jewish immigration to Argentina. In the same year he established the Hirsch Fund to help the Russian Jewish immigrants in the States and provided the finances for agricultural colonies and trades schools in the US. Through his Galician Foundation he realized the establishment of primary and technical schools for Jewish pupils in Galicia and the Bukowina. "It is impossible to form an accurate estimate of the amount of money Baron de Hirsch devoted to benevolent purposes. That including the large legacy amounting to $45000000 left to the Jewish Colonization Association it exceeded $100000000 is an estimate justified by the amounts given by him from time to time to the foundations already referred to. There were besides many gifts to individuals of which there is no record." Jewish Encyclopedia Baron Maurice de Hirsch died suddenly presumably of a heart attack at the age of 64 on 21 April 1896 at the country house of a friend near his own recently purchased estate of Ógyalla in Hungary now part of Slovakia. His widow continued the Baron's charitable work. Clara died in Paris in 1899 and left the remaining family assets to her adopted son Maurice Arnold de Forest. <br /> <p>. unknown
196896790New York: Atheneum 1968. First edition of Watson's ground breaking work regarding the discovery of DNA for which the author Francis Crick and Maurice Wilkins were awarded the Nobel Prize in Medicine in 1962. Signed by all three laureates on the title page James D. Watson Francis Crick and Maurice Wilkins. Octavo original blue cloth with numerous diagrams and photographic illustrations. Near fine in a near fine dust jacket. Jacket design by Jeanyee Wong. Foreword by Sir Lawrence Bragg. Housed in a custom half morocco clamshell box. We have never seen another example signed by all three contributors; exceptionally rare. "Science seldom proceeds in the straightforward logical manner imagined by outsiders" writes James Watson in The Double Helix his account of his codiscovery along with Francis Crick of the structure of DNA. Watson and Crick won Nobel Prizes for their work and their names are memorized by biology students around the world. But as in all of history the real story behind the deceptively simple outcome was messy intense and sometimes truly hilarious. To preserve the "real" story for the world James Watson attempted to record his first impressions as soon after the events of 1951-1953 as possible with all their unpleasant realities and "spirit of adventure" intact. Atheneum hardcover books
C86392Editions Motte. As New. N.D. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - AS NEW THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - - FIVE 5 VOLUME SET WITH SUPPLEMENT. Volumes 1 - 4 published between 1972 - 1977; supplement published 1985. Catalogue Raisonné Catalogue Raisonne Catalog Raisonnee -- with a bonus offer-- - May be EITHER: out of print OOP and extremely rare in this pristine condition; signed by author or contributor; or a first or special edition; inquire for details . Editions Motte hardcover
19275979London: Harrison & Sons for the Royal Society 1927. First edition. <p>First edition extremely rare offprint of Dirac's quantum theory of the electromagnetic field which for the first time reconciled the wave and particle nature of light. "This paper marks the birth of quantum electrodynamics" Schweber QED and the Men Who Made It. "Dirac's approach to the radiation problem . came as a revelation" Gregor Wentzel.</p>. THE BIRTH OF QUANTUM ELECTRODYNAMICS. <p>First edition extremely rare offprint of Dirac's quantum theory of the electromagnetic field which for the first time reconciled the wave and particle nature of light. "This paper marks the birth of quantum electrodynamics. In his 'Introduction and Summary' Dirac noted that the new quantum theory based on non-commuting dynamical variables was by then sufficiently developed to form a 'fairly complete theory of any 'dynamical system' composed of a number of particles with instantaneous forces acting between them provided it is describable by a Hamiltonian function.' But hardly anything had been done 'up to the present on quantum electrodynamics.' 'The questions of the correct treatment of a system in which the forces are propagated with the velocity of light instead of instantaneously of the production of an electromagnetic field by a moving electron and of the reaction of this field on the electron have not yet been touched. In addition there is a serious difficulty in making the theory satisfy all the requirements or the restricted principle of relativity' . Gregor Wentzel who contributed significantly to the development of quantum electrodynamics during the 1920s commented in 1959: 'Today the novelty and boldness of Dirac's approach to the radiation problem may be hard to appreciate . there had been no possibility within the correspondence principle framework to understand the process of spontaneous emission or the disappearance of a photon. Dirac's explanation . came as a revelation' . In his paper Dirac dealt with the problem of an atom interacting with the radiation field in two distinct ways that can be characterized as the 'corpuscular' and the 'wave' approaches. In the corpuscular approach the light quanta are described as an assembly of 'non-interactive particles moving with the speed of light and satisfying the Einstein-Bose statistics' . In the last brief section of his paper Dirac turned to the interaction of an atom with the electromagnetic field as described from the wave point of view . In a lecture on the origin of quantum field theory in 1982 Dirac characterized the two approaches as follows: 'Instead of working with a picture of the photons as particles one can use instead the components of the electromagnetic field. One thus gets a complete harmonizing of the wave and corpuscular theories of light. One can treat light as composed of electromagnetic waves each wave to be treated like an oscillator; alternatively one can treat light as composed of photons the photons being bosons and each photon state corresponding to one of the oscillators of the electromagnetic field. One then has the reconciliation of the wave and corpuscular theories of light. They are just two mathematical descriptions of the same physical reality" Schweber pp. 23-31. "Dirac's approach was instantly welcomed as the first consistent quantum theory of radiation and accepted as the paradigm in a whole series of subsequent studies" Kojevnikov p. 232. "Salam and Wigner in their preface to the Festschrift that honored Dirac on his seventieth birthday and commemorated his contributions to quantum mechanics succinctly assessed the man. 'Dirac is one of the chief creators of quantum mechanics . Posterity will rate Dirac as one of the greatest physicists of all time . He is a legend in his own lifetime and rightly so'" ibid. pp. 11-12. Not on OCLC no copies in auction records.</p> <br /> <p>Provenance: Bertha Swirles 1903-99 signature on front wrapper marginal pencil annotations including an equation in the lower margin of p. 261. As an undergraduate at Cambridge Swirles attended lectures by J. J. Thomson and Rutherford. She remained at Cambridge in 1925 to undertake research in mathematical astronomy under the supervision of Ralph Fowler; another of Fowler's research students a couple of years ahead of Swirles was Paul Dirac. After periods at Bristol Imperial College London and Manchester Swirles took up a lectureship in mathematics at Girton College Cambridge in 1938 where she remained for the rest of her career.</p> <br /> <p>Before Dirac's work the understanding of the emission and absorption of radiation was founded on that set out by Einstein in 1917. Einstein admitted the existence of three kinds of processes involving the interaction of radiation with matter: spontaneous emission absorption and stimulated emission. Einstein denoted the probability per unit time of these processes A ÏB and ÏB' where Ï is the intensity of the incident radiation in the cases of absorption and stimulated emission. Einstein showed that in order to satisfy Planck's radiation law one must have B = B' so that the processes were determined by two coefficients A and B. The new process of stimulated emission in which an atom is 'persuaded' to undergo a quantum jump between two quantum states when radiation of the correct frequency is incident upon it is the process involved in the operation of the laser.</p> <br /> <p>Dirac's first study of radiation theory was the subject of the last section of the important paper 'On the Theory of Quantum Mechanics'. The first part of this paper is best known for establishing the connection between Bose-Einstein statistics and symmetric wave functions on the one hand and what became known as Fermi-Dirac statistics and anti-symmetric wave functions on the other. In the second part of this paper "Dirac considered a system of atoms subjected to an external perturbation that could vary arbitrarily with the time. Of course the particular perturbation he had in mind was an incident electromagnetic field but characteristically he stated the problem in the most general way possible . Dirac obtained results 'in agreement with the ordinary Einstein theory' that is with the quantum mechanical derivation of the B coefficients that occurred in Einstein's theory of 1917. Since he made use of a classical description of the electromagnetic field Dirac was not at the time able to proceed further and he noted 'One cannot take spontaneous emission i.e. the A coefficients into account without a more elaborate theory.' This more elaborate theory was ready less than half a year later" Kragh pp. 120-121.</p> <br /> <p>"The introduction to the 'Quantum Theory of Radiation' appears to have been written after reflection on the already completed body of the paper. It presented the construction of a quantum theory 'of the emission of radiation and of the reaction of the radiation field on the emitting system' as the main object of the paper. This must be accomplished by taking the Hamiltonian for an atom interacting with an electromagnetic field and converting the classical field quantities into quantum-mechanical operators. If the Hamiltonians were then written in terms of a closed system that is with terms representing the energies of the atom the field and the interaction a calculation of the coefficient of spontaneous emission as well as of induced emission and absorption would be possible and thus the problem that had been left open would be solved. Dirac also reported that he had discovered a way to write the Hamiltonian for matter and radiation in terms of the interaction of the atom with an assembly of light quanta. This gave him two equivalent expressions whose starting points were respectively waves and quanta. This equivalence on the one hand and the translation of the classical field variables into quantum operators on the other provided the formal basis for an understanding of the constitution of light" Bromberg p. 151.</p> <br /> <p>"According to Dirac's recollections the fundamental idea of his 1927 radiation theory was obtained unsystematically and unexpectedly. It was 'one of those ideas out of the blue' from which so much of his science originated. The work was the result of 'playing about with the Schrodinger equation . . . and seeing what happens when you make the wave functions into a set of non-commuting variables.' This idea out of the blue led to what was later called 'second quantization.' Instead of treating the energies and phases of radiation as c-numbers i.e. commuting quantities as he had done in his 1926 paper Dirac treated them as q-numbers non-commuting quantities generalizing the matrices of Heisenberg's quantum mechanics. In general second quantization involves considering the wave function as an operator instead of just a number .</p> <br /> <p>"In order to calculate the probabilities of absorption and emission of a photon he constructed a Hamiltonian that described the interaction between a photon and an atom. The Hamiltonian had to incorporate the fact that photons are not conserved but may be spontaneously created or destroyed. Dirac included this feature in his Hamiltonian by introducing unobservable or spurious photons that is photons with zero energy and momentum:</p> <br /> <p>'When a light-quantum is absorbed it can be considered to jump into this zero state and when one is emitted it can be considered to jump from the zero state to one in which it is physically in evidence so that it appears to have been created. Since there is no limit to the number of light-quanta that may be created in this way we must suppose that there are an infinite number of light-quanta in the zero-state.'</p> <br /> <p>"Dirac introduced the idea of zero-state photons because he believed such entities were necessitated by formal reasons. From the point of view of methodology it should be noted that unobservable zero-state photons were dubious entities according to the positivist Heisenberg-inspired view of physical theory that Dirac by and large accepted. This only illustrates that Dirac's positivism was not strict. Also worth noticing is that in 1930 when introducing the hole theory of electrons Dirac proceeded in a way that was conceptually similar to the way he followed in formulating his radiation theory .</p> <br /> <p>"In the last section of his paper Dirac turned to consider the interaction between an atom and radiation from the wave point of view. He again calculated the Einstein coefficients getting the same result he had obtained when using the photon point of view. He concluded that</p> <br /> <p>'. the Hamiltonian which describes the interaction of the atom and the electromagnetic waves can be made identical with the Hamiltonian for the problem of the interaction of the atom with an assembly of particles moving with the velocity of light and satisfying the Einstein-Bose statistics by a suitable choice of the interaction energy for the particles . There is thus a complete harmony between the wave and light-quantum descriptions of the interaction'" Kragh pp. 121-124</p> <br /> <p>"The quantization of the electromagnetic field as carried out in the construction of the second Hamiltonian for atoms and waves by itself brought with it introduction of light quanta. 'The assumption that the variables are q-numbers satisfying the standard quantum conditions immediately gives light-quantum properties to the radiation'" Bromberg p. 153.</p> <br /> <p>"As an indirect consequence of his theory Dirac arrived at a completely new picture for the vacuum. After Einstein had abolished the concept of the ether the matter-free and field-free vacuum was considered as an entirely empty space. But in quantum mechanics because of Heisenberg's uncertainty principle the electromagnetic field oscillators cannot be strictly at rest. As a consequence even in the ground state with the lowest possible energy there still exist the so-called zero-point oscillations of quantum oscillators. Hence the oscillatory nature of the electromagnetic field of radiation leads to the zero-point oscillations of this field in the vacuum state the state of lowest possible energy. The physical vacuum is not an empty space but is 'populated' with zero point oscillations which are the cause of the spontaneous emission of radiation from atoms. Thus Dirac's theory provided the explanation for all results regarding the emission and absorption of radiation by atoms" Mehra & Milton p. 180.</p> <br /> <p>"Everybody was impressed by the new radiation theory. Heisenberg and Pauli soon decided to construct their own quantum electrodynamics on the same basis. Bohr liked it too because it fit well with his philosophy of complementarity. 'The renunciation of intuition in space and time that characterizes this treatment of the radiation problem gives and impressive indication of the essentially complementary nature of description in the theory of quanta'" Darrigol p. 226. "On the other hand since the early 1930s Dirac was an active critic of the theory and tried to develop alternative schemes. He did not become satisfied with the later method of renormalization and regarded it as a mathematical trick rather than a fundamental solution and died unreconciled with what to a large extent was his own brainchild" Kojevnikov p. 229.</p> <br /> <p>"Although not well known to the general public Paul Adrian Maurice Dirac hardly needs to be introduced to physicists and historians of science. Born in Bristol in 1902 as a Swiss citizen - his father was Swiss and Paul only acquired British nationality in 1919 - he became one of the most important theoretical physicists ever. His impact on modern physics may even have been greater than that of Einstein. Young Dirac made his first breakthrough in the fall of 1925 when he developed his own version of quantum mechanics known as q-number algebra and over the next few years he established himself as a leading expert in the new quantum physics. In 1927-28 he made pioneering contributions to quantum statistics Fermi-Dirac statistics quantum electrodynamics and relativistic quantum theory. The linear and relativistically-invariant wave equation for the electron that he published in early 1928 not only explained the electron's spin and magnetic moment but also three years later led to the prediction of antielectrons positrons and antiparticles more generally.</p> <br /> <p>"Dirac's genius was recognized early on. For example he was part of the exclusive company of physicists invited to the famous Solvay conference in 1927. In 1930 at the unusually young age of 27 he was elected a fellow of the prestigious Royal Society and the same year he published his monumental Principles of Quantum Mechanics. Two years later he was appointed Lucasian Professor of mathematics at Cambridge University the chair once held by Isaac Newton and later by Stephen Hawking. Another high point of Dirac's career came in 1933 when he was awarded the Nobel Prize in physics sharing it with Erwin Schrödinger. Although Dirac's scientific fame is closely linked to his fundamental contributions to quantum theory and especially to those of the period 1925-34 he also dealt with other subjects including cosmology classical electron theory and the general theory of relativity. Moreover the influence of his ideas extended beyond physics especially to mathematics e.g. the Dirac δ-function Dirac matrices and Dirac operators. Paul Dirac remained Lucasian Professor until his retirement in 1969 when he joined the physics department of Florida State University in Tallahassee. He died in 1984 and in 1995 a commemorative stone carrying his name and equation was unveiled at a ceremony in Westminster Abbey.</p> <br /> <p>Bromberg 'Dirac's Quantum Electrodynamics and the Wave-Particle Equivalence' pp. 147-157 in: History of Twentieth Century Physics. Proceedings of the International School of Physics 'Enrico Fermi' Course LVII Weiner ed. 1977. Darrigol 'The Origin of Quantized Matter Waves' pp. 197-253 in: Historical Studies in the Physical and Biological Sciences 16 1986. Kojevnikov 'Dirac's quantum electrodynamics' pp. 229-259 in: Einstein Studies in Russia. Einstein Studies Vol. 10 2002. Kragh Dirac. A Scientific Biography 1990. Mehra & Milton Climbing the Mountain. The Scientific Biography of Julian Schwinger 2003. Schweber QED and the Men Who Made It 1994.</p> <br/> <br/> 8vo 254 x 179 mm pp. 243 244-265 1 blank Original printed wrappers. Harrison & Sons for the Royal Society unknown
1963395571New York: Harper & Row 1963. Unbound. Near Fine. Measuring 56†x 42â€. Some light wear at edges and a few light scattered creases near fine. A production page proof for Maurice Sendak's classic children's book Where the Wild Things Are. The proof is printed on both sides and retains its original bright and vibrant colors. It comes from the personal archives of a distinguished children's book author and editor who worked closely with both Sendak and the book's editor Ursula Nordstrom. While there is no jacket present to verify the issue points as typical for a first edition of the book the title page is conspicuously missing its Library of Congress identification number suggesting it was printed prior to securing one as required for publication. Further we have only been able to locate one other known copy of page proof for Where the Wild Things Are in the Maurice Sendak Collection at the Rosenbach Museum and it too lacks the LOC number on the title page. An amazing artifact from what is one of the most popular and influential children's book of the 20th Century. Harper & Row unknown
1926577Paris: Société Nouvelle des Éditions d'Art Devambez 1926. Limited Edition. Fine. Edgar Chahine. 4to 13 x 10 3/4 inches 330 x 250 mm; 112 pp. Copy number XXIV of 30 HC copies on papier japon ancien with 26 plates frontispiece title vignette 5 in-text and 19 full-page. Each plate appears in 3 states: first state final state with remarques final state. This is one of 30 copies with roman numerals reserved for the artist and his friends "Imprimé pour l'artiste et ses amis" from an edition limited to 230 special copies; our copy also includes 4 additional plates also in 3 states an original drawing in reddish-orange crayon signed by Edgar Chahine and a signed copper etching plate for one of the illustrations. Superb red morocco binding by H. Blanchetière signed at foot of front turn-in. Covers with inlaid strapwork border of scarlet and turquoise morocco and elaborately tooled in gilt with scrolls and hatched decoration; spine titled in gilt with 3 strapwork compartments and 4 raised bands doublures of turquoise morocco within border of red morocco all tooled in gilt with the original copper plate for an etched portrait inset into front doublure gilt decorations on back doublure red silk moiré flyleaves marbled endpapers t.e.g. Original wrappers and spine bound in very slight rubbing to joints some light foxing; marbled board slipcase a little rubbed. <br /> <br /> Carteret IV 60; BNF34834086. A sumptuous edition of Maurice Barrès 1862 - 1923 travel impressions of Venice which he wrote in 1903 while living in Italy. Barrès was closely associated with the French Symbolists and the Italian Decadents like Gabriele d'Annunzio. He wrote a trilogy The Cult of the Self in 1888 and shortly thereafter was elected to the Chamber of Deputies and remained very involved in nationalist politics for the rest of his life. <br /> This superb 1926 edition is masterfully illustrated by Edgar Chahine 1874 - 1947 an artist of Armenian descent who studied in Venice for several years before moving to Paris. In his etchings he captures the mood and character of the city and its inhabitants. This super-illustrated edition includes the copper plate of the portrait of Chateaubriand p. 52 inset into the front doublure with the following inscription etched at the top of the plate after printing: "Achevé d'imprimer. 1926" followed by Chahine's signature. The book incorporates beautiful typography and a unique colophon set in the shape of the bow-iron that characterises the prow of all Venetian gondolas. Société Nouvelle des Éditions d'Art Devambez unknown
30971Paris Bernard Grasset 29 septembre 1925. 1 vol. 115 180 mm de 349 p et 1 f. Buffle vert olive à décor de bois de violette et de buis dos lisse titre doré tranches dorées sur témoins doublures et gardes de chèvre velours violet couvertures et dos conservés chemise étui reliure signée de Renaud Vernier Maître d'art ED. Claude Ribal dorure sur tranches de Jean-Luc Bongrain 2025. Édition originale. Un des 7 premiers exemplaires sur chine n° I. . Ce précieux exemplaire le premier des deux hors commerce sur chine l'autre étant réservé à Bernard Grasset est celui de Maurice Genevoix établi par Renaud Vernier. Dès son retour du front et pour sa convalescence dès 1919 Genevoix avait commencé d'arpenter la Sologne. Il fait rapidement sienne l'idée d'en dire davantage : « je voulais faire pour la Sologne ce que j'avais fait trois auparavant pour le Val de Loire : l'évoquer la traduire selon moi mon engagement depuis l'enfance ma gratitude pour tout ce qu'elle était à mes yeux ». C'est à Brinon-sur-Sauldre qu'après la guerre son oncle avait acquis un territoire de chasse et c'est là que cédant peut-être au même appel et même élan vers la nature Maurice Genevoix décide de s'installer au cours de l'été 1924 : « Je pris un soir mon vélo à l'épaule le petit train sur route qui me conduirait à Brinon. J'y arriva à la brunante sautai en selle et mit pied à terre après six kilomètres devant la maison du garde-chasse Trémeau » in Trente mille jours p. 200. C'est là face à l'étang des Clouzioux - qui devient celui de la Sauvagère dans le roman - que ses cogitations prennent formes : « la Sologne est éminemment giboyeuse. Le héros de mon futur roman vrai fils de ce terroir de chasse ne peut donc être qu'un chasseur : non un chasseur occasionnel un quelconque tirailleur du dimanche mais un chasseur d'instinct un homme libre insoucieux des contraintes sociales qui ne relève que de sa race des appels qui le sollicitent et l'obligent autrement et précisément dit : un braconnier ». Brinon est la commune natale dfe celui qui est « le plus fameux le plus malin le plus habile le plus sensationnel braco du cru : Alphonse Depardieu » dit Carré avec lequel Genevoix obtient une « audience » à l'automne quand la certitude du roman et le bal de ses personnages se mettent en place. Un rendez-vous est pris à Brinon. Un rendez-vous manqué : suspicieux le braconnier ne s'y rendra pas. Il n'empêche. Genevoix décidé à façonner ce braconnier universel en fusionnant plusieurs personnages tous bien réels va créer « son » braconnier : Pierre Fouques dit Raboliot. Il se souviendra avec précision dans Jeux de glaces en 1961 de cette rencontre avortée avec Carré-Depardieu lequel « n'a pas été le dernier à prétendre à croire peut-être qu'il m'avait servi de modèle. Et vraiment je lui dois beaucoup à cet homme qui n'est pas venu un jour de l'automne 1924 dans l'arrière-salle de l'auberge rustique où je l'ai vainement attendu » p. 90. Il y explique également le sobriquet de son héros : le nom de Raboliot - désignant un jeune garenne encore au nid dans la « rabolière » - lui vient des chasseurs solognots : vif rusé et libre au milieu de ce territoire immense. La commune est celle du département qui occupe - encore aujourd'hui - la plus grande superficie territoriale : elle s'étend sur 11600 hectares et est sillonnée par quelque 340 km de chemins ruraux ! En 2025 seules 132 communes en France occupent plus de 100 km2 de superficie. Viendra ensuite la consécration du prix Goncourt. Sous Verdun l'avait porté dans la liste finale en 1916 tout comme Rémi des Rauches en 1922. Un an avant que ne soit publié Raboliot une rencontre décisive a lieu avec Lucien Descaves figure importante de l'académie Goncourt : « Genevoix il faut que je libère ma conscience. Nous souhaitons et depuis longtemps vous attribuer notre prix. "Nous" c'est une majorité. Malheureusement pour vous il y a un veto. Rosny aîné notre président pour des raisons que nous n'avons pas à connaître nourrit un tel ressentiment à l'encontre des frères Fischer qu'il s'est fait à lui-même un serment : jamais au grand jamais lui vivant le prix Goncourt n'ira à un auteur de la maison dont ils sont alors les directeurs littéraires. - Alors je dois en faire mon deuil. - Et pourquoi diable - Parce que je suis lié à cette maison par un contrat de quinze années. - Et après - Il y en a encore neuf ans à courir. - Et puis après Redit Descaves. Je vous garantis bien que si votre prochain roman vaut votre Rémi des Rauches vous ne manquerez pas d'éditeurs qui prendront les risques d'un procès. Moi je vous aurai dit ce que je voulais vous dire. Concluez. » in Trente mille jours p. 224. Ce fut Bernard Grasset par l'intermédiaire de Louis Brun qui prendra ce risque au terme de mois de batailles de lettres d'avocats et de mises en demeure entre février et juillet 1925. Jusqu'à un procès gagné pour l'essentiel : une dérogation est donnée à Genevoix pour trois ouvrages en dehors de la maison Flammarion. Raboliot dont le manuscrit est terminé depuis le 23 janvier 1925 sera donc publié chez Grasset avec qui le contrat est signé à l'été. L'ouvrage achevé d'imprimer le 29 septembre paraît en octobre et connaît un succès immédiat. Le 16 décembre Genevoix s'installe avec son oncle et sa tante pour un déjeuner d'attente dont les minutes lui paraissent des heures. Enfin à 13 h lorsqu'est publiée sa victoire c'est Louis Brun une horde sur ses talons qui lui annonce la bonne nouvelle. Un journaliste du Figaro est le premier à recueillir ses impressions : « C'est là qu'en compagnie de quelques amis nous lui avons porté nous-mêmes la bonne nouvelle en lui remettant le pli officiel signé des "neuf" qui lui annonçait son succès. Aussitôt son fin visage intelligent s'anime s'éclaire et une grande joie se lit dans ses yeux : "Dites bien surtout ma reconnaissance profonde à tous les membres du jury à tous ceux qui ont voté pour moi comme aux autres et en particulier à MM. Descaves Geffroy et Hennique qui ont toujours encouragé mon effort" ». Il offre ainsi à Bernard Grasset son troisième lauréat - après le doublé 1911-1912 obtenu avec le Monsieur de Lourdines d'Alphonse de Châteaubriand et Les Filles de la pluie d'André Savignon. 15 titres primés du Goncourt suivront chez Grasset Peyré Charles-Roux Laurent Chessex Maillet Bodard Fernandez Host Vautrin Combescot Maalouf Rambaud Quignard et Weyergans. Et ce 16 décembre est une journée faste pour l'éditeur de la rue des Saints-Pères : Le Femina dans la foulée couronne Joseph Delteil avec son Jeanne d'Arc. Orléans cette année là est donc doublement à l'honneur dans les prix littéraires ! Exemplaire impeccable et des plus précieux dans une parfaite et harmonieuse reliure de Renaud Vernier Maître d'Art confectionnée pour l'occasion et 100 ans après la parution du livre : un habillage d'anniversaire qu'un tel exemplaire méritait bien. De la bibliothèque de Maurice Genevoix aux « Vernelles » ex-libris. Paris, Bernard Grasset, (29 septembre) 1925. 1 vol. (115 180 mm) de 349 p et [1] f. Buffle vert olive à décor de bois de viole unknown
192530971n° 1 sur papier de Chine, pour Genevoix.Reliure de Renaud Vernier Paris, Bernard Grasset, (29 septembre) 1925. 1 vol. (115 180 mm) de 349 p et [1] f. Buffle vert olive à décor de bois de violette et de buis, dos lisse, titre doré, tranches dorées sur témoins, doublures et gardes de chèvre velours violet, couvertures et dos conservés, chemise, étui (reliure signée de Renaud Vernier, Maître d'art, ED. Claude Ribal, dorure sur tranches de Jean-Luc Bongrain, 2025). Édition originale. Un des 7 premiers exemplaires sur chine (n° I).
29062Paris La Maison du Livre imprimé pour Charles Meunier 1914. 1 vol. 300 x 375 mm. Exemplaire entièrement monté sur onglets. Maroquin havane dos à nerfs soulignés sur les mors plats biseautés avec sur le premier un important motif en cuir modelé et incisé en relief peint et doré représentant un visage d'élégante chapeautée dans un médaillon sur un fond de feuilles de platane double filet doré sur les coupes large encadrement intérieur orné de filets dorés et à froid avec motifs d'angle doré tranches dorées sur brochure couverture muette et couverture imprimée chemise et étui reliure signée de Charles Meunier. . Édition de luxe tirée à 30 exemplaires seulement sur Japon impérial n° 6. Premier tirage de cette illustration la plus réussie et la plus forte de cet artiste comportant vingt eaux-fortes originales dont dix en couleurs hors-texte. . Importante reliure de Charles Meunier qui avait établi l'exemplaire n° 1 de la même manière. Précieux exemplaire avec plusieurs états japon parchemin eau-forte pure suite et deux dessins originaux inédits signés. Il contient les eaux-fortes hors-texte en cinq états dont : - l'état colorié à la poupée sur Japon impérial ; - l'état définitif sur parchemin signé au crayon par l'artiste ; - l'eau-forte pure et deux états intermédiaires tirés sur Japon impérial soit au total cinq états de chacun des hors-texte ; - deux dessins originaux inédits exécutés à la craie noire et sanguine sur le faux-titre signés ; - la suite sur Japon impérial des dix gravures in-texte. Meunier s'était fait une spécialité de ces cuirs modelés ciselés et colorés. Provenance : Sotheby's Londres Vente 27 juin 1997 n° 15 reproduit. L'exemplaire n° 1 avait établi par Meunier de ce même type de décor. Paris, La Maison du Livre, imprimé pour Charles Meunier, 1914. 1 vol. (300 x 375 mm). Exemplaire entièrement monté sur onglet unknown
191229062Précieux exemplaire dans une importante reliure de Charles Meunier Paris, La Maison du Livre, imprimé pour Charles Meunier, 1914. 1 vol. (300 x 375 mm). Exemplaire entièrement monté sur onglets. Maroquin havane, dos à nerfs soulignés sur les mors, plats biseautés avec, sur le premier, un important motif en cuir modelé et incisé, en relief peint et doré, représentant un visage d'élégante chapeautée dans un médaillon sur un fond de feuilles de platane, double filet doré sur les coupes, large encadrement intérieur orné de filets dorés et à froid avec motifs d'angle doré, tranches dorées sur brochure, couverture muette et couverture imprimée, chemise et étui (reliure signée de Charles Meunier). Édition de luxe tirée à 30 exemplaires seulement, sur Japon impérial (n° 6). Premier tirage de cette illustration, la plus réussie et la plus forte de cet artiste, comportant vingt eaux-fortes originales dont dix en couleurs, hors-texte.
19246351924 Paris, « Le Livre » [Émile Chamontin], 1924-1925 et 1927 ; 2 vol. in-8, maroquin bleu roi, titre et décor au palladium ornant le premier plat, dos à nerfs muets, large cadre intérieur décoré de deux filets au palladium, doublures et gardes de moire bleue, tranches dorées, couvertures illustrées en couleurs, chemises à rabats et étuis (Canape R. D. 1927).
194774125Paris: Editions Pétridès 1947. Fine. Editions Pétridès Paris 1947 28 x 38 cm relié First edition one of 240 numbered copies on vélin d'Arches with 22 color lithographs after gouaches including 12 full-page plates by Maurice Utrillo printed in the ateliers of Fernand Mourlot and Lucien Détruit. White aniline calf with gilt titanium joints ink-painted boards in green and grey decoration continuing edge-to-edge on the liners loose endpapers on papier japon dyed with Kakishibu by the binder title lengthwise on the spine decorated chemise titled on the spine and matching custom slipcase. Original wrappers and spine preserved. Binding signed by Julie Auzillon gilt title by Geneviève Quarré de Boiry and gilt top edge by Jean-Luc Bongrain 2022. This book presenting every style of the famed artist from Montmartre was published on the occasion of his exhibition in 1947 at the Paul Pétridès gallery. This book presenting every aesthetic period of Montmartre artist Maurice Utrillo was published for his 1947 exhibition at the Paul Pétridès gallery. Mounted at the front of the book an autograph sonnet entitled ""L'Art pictural"" signed by Maurice Utrillo and addressed to Francisque Poulbot; two quatrains and two tercets written in black ink on lined paper. Before the poem Utrillo specified: ""Sonnet par Maurice Utrillo V < dédié à son ami et confrère < Georges Kars."" Sonnet by Maurice Utrillo V < dedicated to his friend and colleague < Georges Kars Signed and inscribed by Utrillo a second time at the top of the sheet: ""Amicalement à Francisque Poulbot"". A few stains to the margins not affecting reading. The sonnet was published in ART vol. 2 October 1934-July 1935 p. 9. This beautiful poem a true poetic manifest of pictorial independence twice signed by Utrillo is dedicated to cartoonist Francisque Poulbot a key figure in Montmartre society. It brings together iconic figures of the Butte famous for their bohemian life and eternal drunkenness: Utrillo Poulbot and Georges Kars a Cubist artist of Czech origin living in Montmartre whose paintings are celebrated by Utrillo in the sonnet. Utrillo wrote this manuscript in 1928 to Francisque Poulbot former classmate of the Lycée Rollin who had become a renowned draughtsman goguettier and founder of the République de Montmartre. Poulbot sketched the painter many times in his beloved Montmartre streets brush in one hand and bottle in the other the silhouette of the Sacré-Coeur church looming in the distance. Utrillo and Poulbot both stayed at some point in their lives at 12 rue Cortot where the Musée de Montmartre is now located. The year he wrote this poem Utrillo painted a superb gouache of Poulbot's house on avenue Junot. Although known for his paintings Utrillo also found in poetry a form of redemption for his bouts of alcohol-induced hysteria. Considered by his friends as a ""builder of sonnets or dithyrambic quatrains"" his verses were praised by famed critic Félix Fénéon. Utrillo also used poetry to celebrate his Montmartre artist neighbors. He wrote this poem in honor of Czech painter Georges Kars thanking him for a striking portrait of him exhibited at the Berthe Weill gallery: « Qu'il me soit donc ici permis en compagnon Sincère et noble et pur en non troubleur en rond Sur cet Art pictural d'émettre un trait austère Georges Kars en ce lieu de digne réunion Rue Laffitte chez Weill de l'art porte-fanion S'affirme en ses tableaux inventif et sincère. » Kars had settled in Montmartre in 1908 and spent many summers in Cadaquès with his wife Utrillo and his mother Suzanne Valadon. In these verses dedicated to the lines of ""his friend and colleague"" Kars Utrillo celebrates the independence and aesthetic personality emancipated from any artistic movement which also characterized Utrillo's own style. Utrillo being a self-taught painter he states his difference from academism and even the avant-gardes of yesteryear citing the Impressionist revolution embodied by the Cormon s Editions Pétridès hardcover
