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
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
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>
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
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
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
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
192614395San Francisco Oakland and Los Angeles: Compiled & Published by Thomas Bros. Map Publishers & General Draftsmen 1926. 1676 by 2083mm. 66 by 82 inches; 5.5 by 7 feet. Lithographed wall map printed in blue over-printed in red blue and green wash in outline to coastline and the park areas respectively laid down on linen as issued A monumental map of San Francisco at the height of its post-fire pre-depression era development the vision of the chief engineer Michael Maurice O'Shaughnessy 1864-1934 who modernised the infrastructure of San Francisco and who is revered as one of the most important civil engineers in American history. After the devastating earthquake and fire of 1906 San Francisco underwent an intense period of reconstruction and development which culminated in the city as the Thomas Brothers' map shows it. A year later in 1927 construction began on San Francisco airport on Mills Fields 13 miles south in San Mateo County making it a truly international city. The city is limited by its natural boundaries with the Pacific Ocean and San Francisco Bay on three sides and the border with San Mateo County to the south. Included on the map are a 'Street index' 'Tract Index' 'Legend' 'San Francisco Street Car Lines' including all stops for the 'Market Street Railway' 'California St. Cable RY.' 'Municipal Railway' and a list of the 'New Streets' in the newly developed southwest portion of the City adjacent to California and San Francisco Golf Clubs at Laguna de la Merced. In 1912 the then mayor of San Francisco James Rolph persuaded O'Shaughnessy to take the post of chief engineer for the city a position which he held for the next twenty years. "The tasks he faced were challenging the more so as he could have made much more money in the private sector. O'Shaughnessy whose long-term view of the city's infrastructure included much more than its water supply which had been his previous concern felt that San Francisco's public transportation network should be a single system providing uniform service at a reasonable price throughout the city. The transportation system could be used to encourage growth in given areas through construction of new lines ahead of residential development. Careful design of the system would produce cost-effectiveness. O'Shaughnessy thus supervised the expansion of the city's streetcar system by building new lines into areas with no previous service using funds derived from operating income and by assessing properties along the right-of-way. Between 1915 and 1927 O'Shaughnessy created the municipal streetcar system that formed the basis of San Francisco's future public transportation network. In addition to modernizing the railway system O'Shaughnessy supervised a new fire system sewers streets highways bridges and tunnels. Much of this construction was done over the areas destroyed by the 1906 earthquake and fire. Under his leadership the city built a main sewer line under Golden Gate Park to the Pacific Ocean. All of these accomplishments however paled before the challenge of the construction of the city's water-supply system from the Hetch Hetchy Valley" Abraham Hoffman for ANB. The Thomas Bros. publishing firm was founded by cartographer George Coupland Thomas and his two brothers in Oakland California in 1915. They published the popular 'Thomas Guide' which was not only useful for tourists but indispensable to the government and emergency services who would refer to the 'Thomas Guide' page number and map grid in dispatches. They published many other maps and atlases until 1999 when they were acquired by Rand McNally. Rare: not in Rumsey; while OCLC records other maps with this title published by the Thomas Bros. company from 1922 to 1946 all are much smaller folding maps. List of 'New Streets': Aerial Way Agnon Ave. Aloho Ave. Benton Ave. Brentwood Ave. Cascade Way Colonial Way Cecilia Ave Cragmount Way Delmote St. El Verano Way Fanning Way Genebern Av. sic Grant Way Harding Blvd. Justin Dr. Lurline St. Lomita Av. Loyola Terrace Mandaly Lane Manor Drive Mantucket Ave. Miroloma Drive Mount Lane Mt. Davidson Way Murray Av. North Gave Dr. Oriole Way Ortega Way Pilgrim Ave. Pinehurst Way Radio Terrace Rock Ridge Drive Roosevelt Way Rudden Av San Andres Way San Jacinto Way St. Elmo Ave. Southern Heights Av. Upland Drive Westgate Drive Wilson fmly Bismark. Compiled & Published by Thomas Bros. Map Publishers & General Draftsmen, unknown
1946003794Floury 1946. 1st Edition 1st Printing. Soft cover. Very Good. About the book: Softcover. First Printing. Signed by Delavier on half title page. Half title page is uncut at the top. Still attach to title page. 60 loose plates with one fold out table of contents. All are in very good condition. Cover is also in very good condition. Onion skin protecting the cover. Not sure if this was part of the production or added on afterwards. Published by hand in a print run of 500 copies. Extremely rare. Additional photos available upon request. Additional shipping charges may apply. <br/> <br/> Floury paperback
1963325185New York: Harper & Row 1963. Hardcover. Near Fine/Very Good. First edition with the publisher's price and the correct first issue code on the front flap. Cloth and papercovered illustrated boards. A bit of foxing to the boards near fine in a modestly toned very good dust jacket with a couple of faint splash marks. Nicely Inscribed by Sendak in 1966 with a small drawing of a dog. Harper & Row hardcover
196495688Amsterdam: Elsevier Publishing Company 1964. First edition of this collection of Nobel Lectures in physiology or medicine from the years 1942-1962. Thick Octavo original yellow cloth. Signed by all three Nobel Prize-winning scientists Francis Crick James D. Watson and Maurice Wilkins on the title page. They were awarded the Nobel Prize in Medicine in 1962 "for their discoveries concerning the molecular structure of nucleic acids and its significance for information transfer in living material."Fine in a very good dust jacket with some closed tears and toning to the spine. An exceptional piece signed by these Nobel Prize-winning scientists. In the early 1950s the race to discover DNA was on. At Cambridge University graduate student Francis Crick and research fellow James Watson had become interested impressed especially by Pauling's work. Meanwhile at King's College in London Maurice Wilkins b. 1916 and Rosalind Franklin were also studying DNA. The Cambridge team's approach was to make physical models to narrow down the possibilities and eventually create an accurate picture of the molecule. The King's team took an experimental approach looking particularly at x-ray diffraction images of DNA. Watson and Crick took a crucial conceptual step suggesting the molecule was made of two chains of nucleotides each in a helix as Franklin had found but one going up and the other going down. Crick had just learned of Chargaff's findings about base pairs in the summer of 1952. He added that to the model so that matching base pairs interlocked in the middle of the double helix to keep the distance between the chains constant. Watson and Crick showed that each strand of the DNA molecule was a template for the other. During cell division the two strands separate and on each strand a new "other half" is built just like the one before. This way DNA can reproduce itself without changing its structure -- except for occasional errors or mutations. The structure so perfectly fit the experimental data that it was almost immediately accepted. DNA's discovery has been called the most important biological work of the last 100 years and the field it opened may be the scientific frontier for the next 100. Elsevier Publishing Company hardcover
1959Sendak234<p>SENDAK Maurice:</p><p><em><strong>The Acrobat. </strong></em></p><p>New York: Capricorn Press 1959.</p><p>With 14 small illustrations hand-colored by the artist.</p><p>Oblong 64mo 8 leaves folded self-wrappers sewn measuring 1-1/8 x 5 inches. A Fine copy.</p><p>First and only edition of the rarest of Sendak's books only 30 copies printed unnumbered SIGNED from fourteen blocks issued as a Christmas greeting divided between the printer Robert Brooks and the artist. The narrative is of an ambidextrous tumbler who folds himself into a ball; along comes a dog who eats the ball.</p><p>Hanrahan A37 illustrated p48</p> Capricorn Press paperback
1938135672New York: The Vanguard Press 1938. First edition early printing of Seuss's unique book of prose. Association copy inscribed by the author on the pastedown "For Maurice with many thanks for the Future! Dr. Seuss." 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 acquired the present volume which had been previously signed by Seuss on the verso of the front free endpaper "For Alice Best Wishes - Dr. Seuss" and brought it to the July 1 1980 American Library Association Conference in New York where Seuss inscribed it personally to him as is notated in Sendak's small ownership inscription above Seuss's. At that time Sendak and Seuss would have been two of the most popular and perhaps even controversial best-selling children's author in attendance. Sendak's career was launched in 1952 with the publication of Ruth Krauss's A Hole Is to Dig. Their author-illustrator collaboration facilitated by Harper & Row publisher and editor-in-chief of juvenile books Ursula Nordstrom became something of a cultural phenomenon spawning a host of imitators of their “unruly†and “rebellious†child protagonists. Now one of the scarcest and most desirable books in modern children’s literature Sendak’s Where the Wild Things Are faced many opponents and was banned in several libraries upon publication in 1963. Its challengers accused the work as being “too dark†and “traumatizing†to young children due to its often frightening imagery." It would become one of many “good books for bad children†edited and published by Nordstrom 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. American children’s author and illustrator Theodore Seuss Geisel produced some of the most popular children’s books of all time under the pen name Dr. Seuss. Although most recognized for his vivid and original drawing style Geisel’s works also carried a complexity that went beyond the function of entertaining children; many of his works had an autobiographical undertone and were written to be intentionally divergent from traditional children’s books. Rather than write stories to convey morals to children many of Geisel’s stories expressed strong views on current social and political issues. Near fine in a very good dust jacket. An exceptional association. Unlike the majority of Geisel's books The 500 Hats of Bartholomew Cubbins was written in prose rather than rhyming and metered verse. Geisel who collected hats got the idea for the story on a commuter train from New York to New England while he was sitting behind a businessman wearing a hat; the passenger was so stiff and formal that Geisel idly wondered what would happen if he took the man's hat and threw it out the window. Geisel concluded that the man was so "stuffy" that he would just grow a new one. The book received positive reviews from critics. The New York Times reviewer called the book "a lovely bit of tomfoolery which keeps up the suspense and surprise until the end." Booklist which had criticized Geisel's previous book And to Think That I Saw It on Mulberry Street for containing only enough material for one comic strip praised The 500 Hats as "a brand-new idea developed into a complete tale not too long not too short just right. Somewhere between the Sunday supplements and the Brothers Grimm Dr. Seuss has produced a picture book combining features of both." The Vanguard Press unknown
19221280741922. First Edition. DE BRUNOFF Maurice and DE BRUNOFF Jacques editors. Collection des plus beaux numéros de Comoedia Illustré et des Programmes consacrés aux Ballets & Galas Russes depuis le début a paris 1909-1921. Paris: M. de Brunoff 1922. Small folio period-style full green morocco gilt decorated spine and boards original patterned endpapers original color pictorial cover illustration laid down internally uncut. $13500.First edition of this homage to the Ballets Russes by French publisher de Brunoff consisting of covers and pages from the French magazine Comoedia Illustré and from Ballets Russes programs and featuring 42 full-page color plates 12 two-page color spreads and hundreds of black-and-white photographs and illustrations depicting sets costumes dancers composers and artists and covering the years 1909 through 1921. Beautifully bound preserving the original pictorial cover illustration and patterned endpapers.""The programmes for the Diaghilev Ballet seasons in Paris and London were published by Maurice de Brunoff. He was the French editor of Comoedia Illustré probably the greatest of all theatrical magazines. De Brunoff devoted many pages to the early Diaghilev seasons in his magazine. Eventually he began to publish the equally lavish souvenir programmes which contained articles photographs and reproductions of the designs for the new ballets all reproduced to the highest quality They are now highly prized collector's items"" Victoria & Albert Museum Theatre Collections. Includes illustrations and designs by Bakst Picasso and Derain and photographs of Nijinsky Pavlova Rubinstein Karsavina and Fokine. ""This deluxe volume is an indispensable source for the best in graphic stage and costume design of the period; early photographs of performers attired for their roles; and commentaries on the ballet by Maurice Ravel Jean Cocteau Guillaume Apollinaire M.D. Calvocoressi and Michel Georges-Michel. Among the elegant drawings and pastels are those by Georges Lepape Jean Dulac Georges Tribout Andre Marty Jean Cocteau and Valentine Gross The drawings and pastels by Valine Gross are especially interesting because the document in a charming style Nijinsky's dance interpretations during actual performances before photographs in the theatre became commonplace"" Roadcap The Book of Dance in the 20th Century 28. No articles appear for the years 1916 or 1918 when performances were halted during WWI. An introductory note by dance critic Valérien Svetlov appears before each season's articles. Text in French. Front cover illustration by painter and ballet designer Natalia Gontcharova preserved on the front free endpaper. Just a few programs with a hint of marginal dampstaining to bottom edge. Color plates spreads photographs and illustrations bright and beautiful. hardcover
19279184<p>Limited to 150 copies this being number 141 but with an additional original 14 x 17 cm Barbier watercolor bound in before the half title. This original work had served as the model for Charles Frederick Worth's "Robe du Soir" as plate 21 in La Gazette du Bon Ton 1922 no. 3. Sumptous full Morocco by Georges Crette with gilt particulars to spine. All edges heavily gilt. Polished calf doublures and decorated endpapers with the original wraps bound in. Decorative slipcase with Morocco fore edges. Minor wear to corners of case see image. Pochoir frontispiece by Barbier as well as pochoir initials headpieces tail pieces.</p><p>8.25 x 10.25 in or 21 x 26 cm</p> A. Blaizot hardcover
1933140948109Brooklyn NY; South Ozone Park NY; Jamaica NY: Science Fiction Digest Company 1933. First Edition. Near Fine. September 1932 volume 1 number 1 through December 1933 volume 2 number 4 whole number 16. A complete run of the amateur magazine published as Science Fiction Digest prior to its name change to Fantasy Magazine with issue number 17. The Cosmos supplement is not present. Sixteen issues bound in side-stapled wraps and side-stapled self-wraps. Ranging from Very Good to Near Fine with general wear light pencil notations soiling some wear to spines and staples. Several small mends and chips several rear covers detached. A very early science fiction fanzine which absorbed The Time Traveller which is considered by many to be the first true science fiction fanzine. The two publications shared several overlapping founders and editors. Complete runs are scarce. Science Fiction Digest Company unknown
19632306058New York: Harper Row 1963. First. hardcover. Near fine/Near fine. A near fine first edition in a near fine first issue dust jacket. Harper Row unknown
19323247Paris 1932. Egyptian novel Paris Jules Meynial 1932 In-12 square in sheets illustrated cover full black morocco case by Loutrel first Plexiglas plate showing the cover ONE OF THE MOST BEAUTIFUL ""ART DECO"" BOOKS FIRST ILLUSTRATED EDITION of this ""Egyptian novel"" first published in 1894 Illustrations by Maurice Lalau: 71 Art Deco geometrical compositions printed in gold silver and shades of grey including 10 full-page Unique edition of 110 copies on vellum from Madagascar n° 65 hardcover
19265980London: Harrison & Sons for the Royal Society 1926. First edition. <p>First edition extremely rare offprint of Dirac's paper which "is justly seen as a major contribution to quantum theory" Kragh. It introduced his quantum mechanical derivation of what is now called Fermi-Dirac statistics and also contained Dirac's first steps towards quantum electrodynamics. The paper "will be remembered as the first in which quantum mechanics is brought to bear on statistical mechanics" Pais.</p>. FERMI-DIRAC STATISTICS AND THE FIRST STEPS TOWARDS QUANTUM ELECTRODYNAMICS. <p>First edition extremely rare offprint of Dirac's paper which "is justly seen as a major contribution to quantum theory" Kragh p. 36. It introduced his quantum mechanical derivation of what is now called Fermi-Dirac statistics which describes a distribution of particles now known as fermions a name coined by Dirac in 1945 in certain systems containing many identical particles that obey the Pauli exclusion principle-meaning that no two of the particles can occupy the same quantum state simultaneously. It also contains Dirac's first steps towards quantum electrodynamics. The paper "will be remembered as the first in which quantum mechanics is brought to bear on statistical mechanics. Recall that the earliest work on quantum statistics by Bose and by Einstein predates quantum mechanics. Also Fermi's introduction of the exclusion principle in statistical problems though published after the arrival of quantum mechanics is still executed in the context of the 'old' quantum theory. All these contributions were given their quantum mechanical underpinnings by Dirac who was in fact the first to give the correct justification of Planck's law which started it all: 'Symmetrical eigenfunctions . give just the Einstein-Bose statistical mechanics . . . which leads to Planck's law of black-body radiation'" Pais p. 6. Dirac's paper is credited "for having laid the foundations of the integration of quantum mechanics and quantum statistics because they introduced the quantum-mechanical expression of the symmetry of a system under exchanges of equal particles. The quantum formalism of exchange symmetry is regarded as having solved at once long-standing difficulties regarding the statistical properties of both equal particles and light quanta by clarifying and legitimizing the previously foggy notion of indistinguishable particles" Monaldi p. 125. The second part of the present paper contained the seed of Dirac's invention of quantum electrodynamics which was brought to fruition a few months later in 'The Quantum Theory of the Emission and Absorption of Radiation'. In the present paper "Dirac considered a system of atoms subjected to an external perturbation that could vary arbitrarily with the time . 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 that gave the probability of absorption and stimulated emission of radiation. 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. OCLC lists University of Florida only where Dirac spent his last years. No copy in auction records.</p> <br /> <p>Provenance: Bertha Swirles 1903-99 signature on front wrapper extensive annotations to lower margins of last two pages of text including several equations. 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>The present paper was "Dirac's first published response to Schrödinger's theory i.e. wave mechanics. He had corresponded with Heisenberg while completing his PhD thesis in Cambridge in the spring of 1926. Many years later he wrote in his recollections that he did the present work on many-particle systems after Heisenberg convinced him of the usefulness of wave mechanics. Dirac felt 'at first a bit hostile' to this theory because it seemed to him that it represented a regress to 'the pre-Heisenberg stage.' In a non-extant letter to Heisenberg he criticized Schrödinger because 'the wave theory of matter must be inconsistent just like the wave theory of light'. Heisenberg agreed with this criticism but nonetheless saw Schrödinger's theory as progress. Thanks to Heisenberg's detailed explanation of the relation between the two formal schemes Dirac could see that wave mechanics 'would not require us to unlearn anything that we had learned from matrix mechanics' but rather 'supplemented the matrix mechanics and provided very powerful mathematical developments which fitted perfectly with the ideas of matrix mechanics'.</p> <br /> <p>"In Dirac's retrospective account it was the study of Schrödinger's formalism that suggested to him the possibility of symmetric and antisymmetric wave functions for a system of similar particles. These 'symmetry questions' in turn 'brought in the possibility of new laws of Nature' .</p> <br /> <p>"Instead of confronting Schrödinger's undulatory interpretation Dirac set out to reformulate Schrödinger's formal apparatus in general terms according to his own mathematical approach. He deduced the expression of the general solution of a quantum-mechanical problem as a linear expansion with arbitrary constants in 'a set of independent solutions' which he called eigenfunctions p. 664. This formal milestone enabled him to develop a quantum-mechanical treatment of multiparticle systems and to reach three lasting results. He arrived at the symmetry and antisymmetry of the wave functions formulated the statistics that we now know as Fermi-Dirac statistics and derived a calculation of Einstein's coefficients of absorption and stimulated emission .</p> <br /> <p>"Dirac adopted 'an atom with two electrons' as the simplest multiparticle system. In his atom however all interactions between electrons could be neglected. He did not resort to the analogy with the classical phenomenon of resonance as a theoretical tool but used only the symmetry of the two-electron system supplemented by the methodological principle for which he credited Heisenberg:</p> <br /> <p>'Heisenberg's matrix mechanics enables one to calculate just those quantities that are of physical importance and gives no information about quantities such as orbital frequencies that one can never hope to measure experimentally. We should expect this very satisfactory characteristic to persist in all future developments of the theory' p. 667.</p> <br /> <p>"Dirac indicated with 'the state of the atom in which one electron is in an orbit labelled and the other in the orbit .' He then asked: Were the 'physically indistinguishable' states and to be counted as distinct or as identical This question was inconsequential in classical mechanics but in the matrix formalism it implied a choice between two different matrix representations. In one the matrix elements corresponding to the transitions → m'n' and → n'm' would be represented by two separate matrix elements in the other they would be represented by the same element . Dirac asserted that the two transitions → m'n' and → n'm' were 'physically indistinguishable' and that 'only the sum of the intensities for the two together could be determined experimentally' p. 667. From this proposition he drew the answer:</p> <br /> <p>'Hence in order to keep the essential characteristic of the theory that it shall enable one to calculate only observable quantities one must adopt the second alternative that and count as only one state' p. 667.</p> <br /> <p>"Having so fixed the matrix formalism Dirac applied his formula for the general solution of the two-particle model. He formed the eigenfunctions of the whole system as linear combinations of products of the eigenfunctions of the single electrons; then he imposed the condition that they correspond to the matrices. This condition could be satisfied only by combinations that were symmetrical or antisymmetrical under exchange of the electrons. Either one of these two possibilities gave 'a complete solution of the problem' and quantum mechanics did not dictate which was the correct one p. 669. The choice Dirac stated was to be made by appealing to Pauli's exclusion principle:</p> <br /> <p>'An antisymmetrical eigenfunction vanishes identically when two of the electrons are in the same orbit. This means that in the solution of the problem with antisymmetrical eigenfunctions there can be no stationary states with two or more electrons in the same orbit which is just Pauli's exclusion principle' pp. 669-670.</p> <br /> <p>"The symmetrical solution however could not be correct for 'the problem of electrons in an atom' because it allowed any number of electrons in the same orbit p. 670. These results could be straightforwardly extended to any system composed of similar particles in particular to an assembly of molecules. Dirac thus applied them to the ideal gas. He obtained the eigenfunction of the assembly by multiplying the single-molecule eigenfunctions and choosing either the symmetrical or the antisymmetrical linear combinations. At this point he turned to statistical considerations. He implicitly made the assumption that the new states represented by symmetrical and antisymmetrical wavefunctions represented the energy distributions or macrostates of statistics. Then he explicitly adopted as a 'new assumption' the simplest extension of Bohr's rule namely that 'all the stationary states of the assembly each represented by one eigenfunction have the same a priori probability' p. 671. In the case of symmetrical eigenfunctions this rule corresponded to the Bose-Einstein statistics. In the case of the antisymmetrical eigenfunctions whereby the number of molecules associated with each single-particle eigenfunction could only be 0 or 1 it led to the new statistics that is now known as the Fermi-Dirac statistics. Dirac concluded:</p> <br /> <p>'The solution with symmetrical eigenfunctions must be the correct one when applied to light quanta since it is known that the Einstein- Bose statistical mechanics leads to Planck's law of black-body radiation. The solution with antisymmetrical eigenfunctions though is probably the correct one for gas molecules since it is known to be the correct one for electrons in an atom and one would expect molecules to resemble electrons more closely than light quanta' p. 672</p> <br /> <p>"Despite having just derived the two quantum statistics from the same set of assumptions with the difference of the Pauli principle Dirac separated them starkly in their applicability. His integration of quantum statistics and quantum mechanics was thus sealed with an uncompromising rejection of Einstein's analogy between light quanta and material corpuscles .</p> <br /> <p>"The fact that Dirac disregarded the undulatory interpretation of the wave function and the consequences of antisymmetry for the independence of material particles does not mean that he refrained completely from any interpretation of the general solution of the wave equation. He did put forward an interpretation in the last section of the paper in which he outlined a perturbation theory and fruitfully put it to use. He wrote the wave equation of 'an atomic system subjected to a perturbation from outside e.g. an incident electromagnetic field' and showed that the general solution could be written as Ψ = Σn anΨn where the Ψn were the wave functions associated with the stationary states of the unperturbed atom and the an coefficients depending on time. He thus deftly switched interpretive models. He proceeded to consider the general solution as no longer representing an atom but an assembly of atoms and to assume that the square modulus of the coefficient an represented 'the number of atoms in the th state' pp. 646-647. The general solution now was a new theoretical representation of a multiparticle system that avoided any representation of individual particles and therefore bypassed for the time being the question of whether two states differing only by particle exchange should be counted as a distinct or identical. Determining the time evolution of the an under the effect of the perturbation Dirac was then able to derive the coefficients of absorption and stimulated emission of Einstein's theory of radiation .</p> <br /> <p>"Dirac returned to the difference between electrons and light quanta and the emission and absorption of radiation half a year later after having spent several months at Bohr's institute in Copenhagen formulating the general transformation theory and a general statistical interpretation of it. As a result of that work he was able to forge a link between his two representations of multiparticle systems for the case of light quanta and thereby launched quantum electrodynamics" Monaldi pp. 137-143.</p> <br /> <p>"'On the Theory of Quantum Mechanics' became the most cited of Dirac's early papers and was studied with interest by both matrix and wave theorists. Although the paper was recognized as an important work many physicists felt that it was difficult to understand and even cryptic. Schrödinger may be representative in this respect. In October 1927 when Dirac was in Copenhagen Schrödinger told Bohr about his troubles in reading Dirac:</p> <br /> <p>'I found Dirac's work extremely valuable because it translates his interesting set of ideas at least partly into a language one can understand. To be sure there is still a lot in this paper which I find obscure . Dirac has a completely original and unique method of thinking which - precisely for this reason - will yield the most valuable results hidden to the rest of us. But he has no idea how difficult his papers are for the normal human being'" Kragh p. 37.</p> <br /> <p>"Following the publication of Dirac's paper the new statistics was eagerly taken up and applied to a variety of problems. The first application was made by Dirac's former teacher Fowler; as an expert in statistical physics he was greatly interested in the Fermi-Dirac result. Fowler studied a Fermi-Dirac gas under very high pressure thus beginning a chapter in astrophysics that a few years later would be developed into the celebrated theory of white dwarfs by his student Chandrasekhar. In Germany Pauli and Sommerfeld made other important applications of the new quantum statistics with which they laid the foundation for the quantum theory of metals in 1927" ibid. p. 36.</p> <br /> <p>Kragh Dirac: A Scientific Biography 1990; Monaldi 'Early interactions of quantum statistics and quantum mechanics' pp. 125-147 in: Traditions and Transformations in the History of Quantum Physics. HQ-3: Third International Conference on the History of Quantum Physics Berlin June 28 - July 2 2010 Katzir Lehner & Renn eds. 2017. Pais 'Paul Dirac: Aspects of his life and work' in Paul Dirac: The Man and his Work ed. P. Goddard 1998 pp. 1-45.</p> <br/> <br/> 8vo 254 x 179 mm pp. 661 662-677 3 blank. Original printed wrappers lightly soiled and foxed. Harrison & Sons for the Royal Society unknown
1924458H4766New York: Harcourt Brace and Company. Good. 1924. Third Printing. Hardcover. A modern Jew perhaps for the first time analyzes western civilization as an expression of the Gentile way of life and shows where this clashes with the nature and spiritual impulses of the Jew. - paraphrased from front flap of replica dust jacket included with this copy. "We Jews we the destroyers will remain the destroyers for ever. Nothing that you will do will meet our needs and demands - The wretched fate which scattered us through your midst has thrust this unwelcome role upon us." - p. 155. "I console myself with the thought that if this book offends by its assertiveness God knows that the infinite tactfulness of thousands of other Jews seems to have offended no less. Whatever we do we are damned - and I would rather be damned standing up than lying down." - p. 221. "Born in Romania Maurice Samuel 1895-1972 moved to the United States in 1914. A Jewish intellectual and writer he is best known for You Gentiles." - Wikipedia. 6-221pp. 7.75" x 5.5". Tight and unmarked with average wear and soiling. Includes new replica dust jacket in glossy new archival-grade protection.; 8vo - over 7¾" - 9¾" tall; western civilization its religion morality art and science as an expression of the gentile way of life and shows where this clashes with the nature and spiritual impulses of the Jew Comparison Contrast Christian . Harcourt, Brace and Company hardcover
196327514New York: Harper & Row 1963. First printing. Near fine in very good plus jacket. Lovely first edition of the subversive Caldecott-award winner in the rare original first-issue dust jacket. After illustrating nearly 50 other books WILD THINGS was Sendak's first full-color picture book with his own text and illustrations. He took full advantage of that control to push the boundaries of the children's picture book genre. The story of a boy who gets in a fight with his mother and lets out his pent up feelings in a fantastical Wild Rumpus WILD THINGS focused on the complex inner experience of little Max acknowledging the reality that children deal with anger frustration and fear just as adults do. For this reason the book was initially not well received: before the rise of New Realism in children's literature many critics felt children's books ought to model ideal behavior rather than accurately reflect children's emotional experiences. The book made a splash from the very beginning as Sendak expected it would: many critics advised against buying the book and some libraries banned it. Readers largely didn't know how to react to its unconventional approach - until it won the Caldecott. WILD THINGS is now one of the best-selling children's books of all time paving the way for commercial picture books that explore our darker sides and encourage us to make friends with monsters. 9'' x 10''. Original quarter grey cloth color pictorial paper boards. In original price-clipped color pictorial dust jacket without Caldecott medal and with 3-paragraph blurb on front flap blurbs are issue point not price; ref. Hanrahan. Color pictorial endpapers. Illustrated by Sendak in color throughout. 40 pages. Jacket with some soiling and toning a few short closed tears minutely reinforced on verso. Book with a bit of bumping to extremities else clean and bright. Harper & Row unknown
