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From the library of President George Washington, with his bold signature on the half-title. The volume was presented to Washington, accompanied by a letter dated 15 July 1795, by the English physician Dr John Coakley Lettsom (1744 1815), and remained in his library until his death. Lettsom's letter, no longer present, mentions his American sympathies and shows that he is aware of Washington's lifelong devotion to the improvement of American agriculture: "Having been born an American, and early imbibed principles of liberty as established on that continent, I have probably received a stronger disposition, to promote, its prosperity, and particularly its agriculture, and the knowledge of its natural history and mineralogy." Along with the book, Lettsom enclosed some rhubarb seeds for Washington's use. Although they never met, the President and Lettsom had a mutual friend in William Thornton (1759 1828), best known in American history as the architect of the Capitol building. Thornton had moved to the new federal capital the year before this presentation, when President Washington appointed him one of the fledgling city's commissioners. Lettsom and Thornton were born in what is now the British Virgin Islands. Both were Quakers appalled by slavery, and both studied medicine. Thornton revered Lettsom as his mentor, but while Lettsom set up a medical practice in London and built a distinguished career there, Thornton became an American citizen. When Thornton prepared to go to America in 1784, it was Lettsom who wrote an introductory letter to Benjamin Franklin. Among Lettsom's many philanthropic achievements in London was assisting William Hawes in the foundation of the Royal Humane Society, of which Thornton was also a member. The Society's aim was to resuscitate anyone in a state of "suspended animation", such as the near-drowned or attempted suicides. The Society promoted novel resuscitative techniques, such as CPR and electric stimulation. They offered rewards to those who successfully resuscitated persons, organized rapid response teams to render first aid, and published reports on successful cases. The present volume documents hundreds of such cases and includes essays and letters from RHS members. The work of the RHS was addressing a widespread, potent fear of premature burial, a fear shared by George Washington. Shortly before he died in December 1799, he requested his secretary, Tobias Lear, to "have me decently buried; and do not let my body be put into the Vault in less than three days after I am dead". As he lay dying, a family member invited Thornton to Mount Vernon to see if he could use his medical training to help. Thornton was grief stricken to find that he had arrived too late, finding his hero's body frozen stiff. Remembering the experimental techniques of the RHS, Thornton proposed to reanimate Washington, first by thawing him in cool water, then gradually warming him, giving him a tracheotomy and a transfusion of lamb's blood. To Thornton's consternation, Washington's family refused to sanction the attempt. George Washington's Mount Vernon library comprised only about 900 books, with pamphlets and other publications taking it to a total of more than 1,200 titles. Books from Mount Vernon command notably high prices in commerce. On 22 June 2012 at Christie's New York, Washington's annotated copy of the Constitution and Bill of Rights set a then world auction record for an American book or historical document of $9,826,500. His copy of The Federalist presented by two of the authors and with his signature and bookplate in each volume was sold at auction at Sotheby's New York in 1990 for $1,430,000. Even odd volumes bring substantial prices: for example, the first volume only of Lesage's Gil Blas, $126,000 in 2021, or a mixed lot of volumes from Mount Vernon, $1,205,000 in 2013, both at Sotheby's New York. The heir to George Washington's library was one of his nephews, Bushrod Washington (1762 1829). After Bushrod Washington's death, what remained of the original Mount Vernon library and papers passed to Bushrod's two nephews, George Corbin Washington and John Augustine Washington II. George Corbin Washington sold his portion in two tranches, which eventually found their way to the Library of Congress and the Boston Athenaeum. This book was in the other half, inherited by John Augustine Washington II, which was sold at auction on 28 November 1876 by Thomas Birch's Sons in Philadelphia. It was purchased by John R. Baker, one of the sale's largest buyers. Baker's collection was resold 11 12 February 1891, again at Birch's Sons, where it was purchased by the American philanthropist Phoebe Apperson Hearst, wife of Senator George Hearst, and mother of newspaper magnate William Randolph Hearst. The book was then either sold by Phoebe before her death in 1919 or bequeathed to her son William, although it does not appear in the catalogue for the sale of his library at Sotheby's in 1963. It turns up again in 1972 at Charles Hamilton Galleries in New York and has remained in private hands until this year. Listed in the official inventory of Washington's personal property at Mount Vernon taken by appraisers upon his death (see p. 426 in The Estate of George Washington, Deceased, Eugene Ernst Prussing, 1927); Griffin, Catalogue of the Washington Collection, 554. Octavo (200 x 127 mm). Contemporary red straight-grain morocco, presumably for presentation, spine lettered in gilt, gilt rules, gilt rope-roll to turn-ins, marbled endpapers, gilt edges. Housed in a red quarter morocco solander box by the Chelsea Bindery. Engraved portrait of George III and 2 engraved plates. Binding rubbed, spine with small scuffs, internally clean, very good condition.

First complete edition of "the most important scientific book of eighteenth-century America" (PMM), inscribed by Benjamin Franklin to prominent Pennsylvania Quaker and merchant Thomas Livezey, Jr. Quarto, bound in full contemporary calf with elaborate gilt tooling to the spine in six compartments within raised gilt bands, morocco spine label lettered in gilt, gilt turn-ins. Illustrated with 7 copper-engraved plates, 2 of which are folding. Presentation copy, inscribed by Benjamin Franklin on the front free endpaper, â To Mr. Livesy [sic] From his obliged Friend & humble Servant The Author.â With Thomas Livezey's ownership signature to the second free endpaper, "Thomas Livezey Junior 1810." The recipient, Thomas Livezey Jr. (1723-1790), was a member of the fourth generation of the prominent Pennsylvania Quaker Livezey family. His ancestor, Thomas Livezey, the elder (1627-1691), was among the earliest settlers of Pennsylvania; his land was a portion of William Penn's Pennsylvania colony and was granted to him directly by Penn in an early patent. Thomas Livezey Jr. established one of the largest ï our mills in colonial British North America, the Livezey Mill, and rose to prominence as one of the major suppliers of high quality ï our to the world during that era. Situated on Wissahickon Creek in Philadelphia, the Livezey Mill was a major colonial operation, provided flour both domestically and overseas, and fed numerous armies throughout the eighteenth century including those fighting on both sides of the American Revolution. The mill was in continued operation for more than one hundred twenty-ï ve years until roughly 1874. Livezey was elected to the colony of Pennsylvania's legislative body, the Pennsylvania Assembly, in 1765. BenjamÃn Franklin had been elected to the Pennsylvania Assembly 14 years earlier in 1751 and in 1764 (one year prior to Livezey's appointment), Franklin was sent to London by the Pennsylvania Assembly as a colonial agent to protest against the political influence of the Penn family, with whom the assembly was becoming increasingly frustrated. He remained there for five years, striving to end the Penn family's prerogative to overturn legislation from the elected Assembly and their exemption from paying taxes on their land. His lack of influential allies in Whitehall led to the failure of this mission. Franklin and Livezey were warm acquaintances, despite their differences. In late 1767, Livezey sent a case of wine he had made from wild grapes to Franklin in London, writing, â I heartely wish it may arive Safe, and warm the hearts of Every one who tastes it, with a Love for America. And would it Contribute towards bringing about a Change of Government but one month Sooner, I would Gladly Send all I have.â In early 1768, Franklin thanked Livezey in a letter, stating that he â shall apply this parcel as I did the last towards winning the hearts of the Friends of our Country, and wellwishers to the Change of its Government.â PMM 199; Grolier 100 American Books 10; Dibner Heralds of Science 57. Presentation copies of this first collected edition are scarce. This is the only presentation copy to a known recipient to appear on the market over the course of the past century. In very good condition. Housed in custom three quarter morocco clamshell box. "â Franklinâ s most important scientific publication,â Experiments and Observations contains detailed accounts of the founding fatherâ s crucial kite and key experiment, his work with Leiden jars, lightning rods and charged clouds (Norman 830). â The most dramatic result of Franklinâ s researches was the proof that lightning is really an electrical phenomenon. Others had made such a suggestion before himâ " even Newton himselfâ " but it was he who provided the experimental proofâ (PMM). â The lightning experiments caused Franklinâ s name to become known throughout Europe to the public at large and not merely to men of science. Joseph Priestley, in his History of Electricity, characterized the experimental discovery that the lightning discharge is an electrical phenomenon as â the greatest, perhaps, since the time of Isaac Newtonâ ¦ Franklinâ s achievementâ ¦ marked the coming of age of electrical science and the full acceptance of the new field of specializationâ (DSB).

First edition. DIBNER 170: FIRST VERNACULAR EDITION - A SUPERB COPY. First edition in the vernacular, and a superb large copy untouched in its first binding, of one of the finest illustrated books of the Italian Renaissance. "This handbook on classical architecture is the only Roman work inspired by Greek architecture that has come down to us. It is therefore important as a prime source of many lost Greek writings on the subject and as a guide to archaeological research in Italy and Greece. By exemplifying the principles of classical architecture it became the fundamental architectural textbook for centuries. Vitruvius, who lived during the time of Julius Caesar and Augustus, and probably composed his book prior to 27 BC, was basically a theoretical rather than a practising architect and his only known work is the Basilica at Fano. The 10 books of 'On architecture' deal with principles of building in general, building materials, designs of theatres, temples, and other public buildings, town and country houses, baths, interior decoration and wall paintings, clocks and dials, astronomy, mechanical and military engineering. There are many ingenious devices for dealing with the echo in theatres and ideas on acoustic principles generally; on methods of sanitation - Vitruvius is believed to have been responsible for the new plumbing system introduced when Augustus rebuilt Rome; on correct proportions, proper location of building, town planning, and much on ballistic and hydraulic problems. The classical tradition of building, with its regular proportion and symmetry and the three orders - Doric, Ionic and Corinthian - derives from this book. In recent times Vitruvius's considerable importance in the history of science has also been recognised as he made some valuable contributions to astronomy, geometry, and engineering. Although his influence on practical architecture during the Middle Ages was obviously small, at least 55 manuscripts of the De Architectura are known . It was with the Renaissance that his influence began. Alberti, Bramante, Ghiberti, Michelangelo, Vignola, Palladio and many others were directly inspired by Vitruvius. The first printed edition appeared in Rome (ca. 1483-90), the first illustrated one in Venice, 1511, and French, German, Italian and Spanish translations soon followed, The Como edition of 1521 is the first in Italian - by Cesare Cesariano (1483-1543), a pupil of Bramante. It has splendid new illustrations, some of which are now attributed to Leonardo da Vinci, and is the most beautiful of all the early editions" (PMM). The text by Vitruvius, in the translation by B. Mauro da Bergamo and B. Jovio da Camasco, occupies the center of the page in large letters; Caesarino's commentaries, which stop at chapter VI, are printed around it, in a smaller type. The 117 woodcuts, which form the iconography, mark, according to Roland Recht, an essential moment in Western architecture. Printed alternately on a black and white background, these woodcuts are considered as models of their kind; they were executed according to the designs of Caesarino, Massimo Bono Mauro da Bergamo and Benedetto Giovio (1471-1545). The publication of this work was initiated by Cesariano with the financial support of two sponsors, Augustino Gallo and Aloysio Pirovano, and was to have been carried out in Milan, but the arrival of the French in this city resulted in the work being printed in Como; Gottardo da Ponte was brought specially to Como to carry out the printing, which may have been a print-run of 1300 copies. As recorded in the concluding editors' address to the reader, Cesariano abruptly abandoned the project after quarreling with Gallo and Pirovano in May 1521; his commentary ends at Chapter 6 of Book IX, and the remainder was completed by Giovio and Mauro. The present copy is in the first state, with the error 'tuta lopera' uncorrected in the heading on f. Z8r. Provenance: Christoph Andreas IV. Imhoff (1734-1807), numismatist (ex-libris); Alfred Ritter von Pfeiffer (Cat. I, Leipzig, 4-6 May 1914, No 696, "magnificent copy of Vitruvius, whose well-preserved specimens are the greatest scarcity"), with his 19th century armorial bookplate and what could be his shelfmark accompanied by a crowned label [AP]; Pierre Berès (1913-2008) (Cat. IV, Cabinet books, 2006, No. 7), described as "the king of French booksellers" in his New York Times obituary and as "a legendary figure in the world of art, collecting and publishing" by French culture minister Christine Albanel; Alde, March 6, 2014, lot 6 (â 158,600). "The known facts of Vitruvius' career are that he worked in some unspecified capacity for Julius Caesar; that he was subsequently entrusted with the maintenance of siege engines and artillery by Caesar's grandnephew and adopted heir, Octavianus, later the Emperor Augustus; and that on retirement from this post he came under the patronage of Augustus' sister, Octavia (I, praef., 2). It is often suggested, on the evidence of Frontinus (De aquis urbis Romae, 25), that book VIII of De architectura may have been the fruit of personal experience as a hydraulic engineer during Agrippa's construction of the Aqua Julia in 33 B.C.; but Frontinus is in fact quoting Agrippa and Vitruvius as possible alternative sources for his information, and the relevant passages in Vitruvius contain some surprising technical errors. Vitruvius' only excursion into civil architecture was the building of a basilica at Fanum Fortunae, the modern Fano, on the Adriatic Coast (V, 1, 6-10). This commission, coupled with what appears to be a personal knowledge of many of the Roman cities in the Po valley (for instance, I, 4, 11; II, 9, 16; V, 1, 4), suggests that, like many of those prominent in the culture of Augustan Rome, Vitruvius may have been of north Italian origin. It should be noted that in the first century of the Christian era, a freedman of the same family, Lucius Vitruvius Cerdo, is named as architect of the Arch of the Gavii at V.

Etat : Fine. First edition. STUNNING LARGE HISTORIC PHOTOGRAPH OF TESLA, SIGNED AND INSCRIBED BY TESLA TO EDWARD EVERETT BARLETT. Albumen print, signed and inscribed by Tesla on the original gray mount: "To my friend E. E. Bartlett, New York, June 9, 1896, Nikola Tesla." The photograph shows Tesla in profile seated before the spiral coil of his high-voltage transformer at his East Houston St., New York, laboratory. The photograph, in addition to being arguably the most famous and dramatic portrait of Tesla, is scientifically significant, for it served as a demonstration of the power of his new technique of providing illumination with vacuum tubes. A reproduction of the photograph appeared in the May 20, 1896 issue of Electrical Review, alongside an article where a reporter interviewed Tesla about the novel circumstances of the creation of this photo: "As to his continuous efforts to improve his system of lighting by vacuum tubes, with which he has been identified during a number of years, Tesla said that he has been more successful than he had ever dared to hope. His methods of conversion from ordinary to high-frequency currents are rendered simple in the extreme, the devices are thoroughly reliable and require no attention. Last, but most important of all, he has succeeded in increasing the candle-power of the tubes to practically any intensity desired. "A remarkable and most telling result of the advances he has made in the last direction is a portrait, which he has reluctantly allowed us to use, and which was obtained by two seconds' exposure to the light of a single vacuum tube of small dimensions. Tesla stated further that photographs obtained by the light of such powerful tubes show an amount of detail which no picture taken by the sun or flash light is capable of disclosing. This feature is only faintly shown in the reproduction on this page. The photograph was made by Tonnelé & Company, artists' photographers, who aided Mr. Tesla in his attempts to photograph by the light of phosphorescent tubes about two years ago. "When asked, Mr. Tesla said, in explanation of the picture, speaking with deep feeling, that the volume he was reading was one of the 'Scientific Papers,' of Maxwell, given to him as a token of friendship by Professor Dewar; the chair a gift of his warmest friend, Mr. E. D. Adams; and as to the queer coil to his left, Mr. Tesla hesitatingly remarked that it was the object 'dearest of all in his laboratory,' having been a most valuable instrument in his many-sided investigations. "Mr. Tesla added, good humoredly, that, had it not been for the extraordinary manner in which the photograph was taken, he would not have given this explanation even to such an important personage as the representative of the ELECTRICAL REVIEW." Tesla was correct in insisting that the lighting from the vacuum tubes produced a high-level of detail in the photograph; the intricacies of the coil, in particular, appear remarkably sharp. Overall, the photograph has an orange tint, almost certainly the result of his novel lighting technique. Although this is the only signed example of this photograph we are aware of, it has been reproduced in recent years many times, including serving as the cover image for Marc J. Seifer's groundbreaking biography of Tesla, Wizard. Provenance: The recipient, Edward Everett Bartlett (1863-1942) was a celebrated New Yorker (both he and Tesla were featured in Moses King's Notable New Yorkers, 1896-1899), who founded Bartlett & Co., (later Bartlett Orr Press) on lower Broadway, in 1888. Variously described as an artist, illustrator, printer, and engraver, Bartlett was internationally known as "an expert on newspaper type, and he was credited with the development of much of the linotype type used in newspaper offices throughout the country"; additionally he published several works on the art of the book. (New York Times, Obituary, 1942). Size: Image, 7 3/4 x 9 1/2 inches; with mount, 8.5 x 11 inches. Archival matting and framed with UV-.

4to. 4 vols. (10), 20 pp. (10), 40 pp. (14), 33 pp. (12), 19 pp. With 2 watercoloured and 4 coloured engraved coats of arms, 1 coloured engraved dedication plate, 183 (instead of 186) plates of birds, 15 of which in watercolour and 168 on splendidly illuminated engraved plates, partly heightened in gold, silver and copper, with lavish watercolour borders. Contemporary glazed red morocco binding with double gilt engraved spine labels, splendid floral spine and cover gilding. Vols. 4-6 with coloured armorial supralibros to upper covers. Calico endpapers, all edges gilt. Unique copy of one of the rarest works of zoological book illustration, from the library of the banker, art collector, and patron Moritz von Fries (1777-1826), for whom the set was in all likelihood specially produced. Around 1800, Fries was considered without doubt the richest man in the Habsburg monarchy. The splendid engraved plates were elaborately illuminated, each with rich botanical and architectural decoration extending even beyond the engraved matter. In addition, the copy at hand was enhanced by 15 original watercolours (all in vols. 5 and 6), whereas the regular copies include merely prints. The only verifiable complete copies, in the Austrian National Library (ÖNB) and the Bavarian State Library (BSB), show less splendid decoration, with only three watercolours each in the respective volumes and no watercolour borders whatsoever. The Fideicommissum collection in the ÖNB holds 5 illuminated volumes of Spalowsky's work, with volume 5 containing the highest traceable number of watercolours among all copies available for comparison. As the final volume is lacking in the Fideicommissum collection, the eight watercolours and splendid framings of vol. 6 of Fries's copy are probably unique. - Since 1932, the only copies traceable at auction were those at Ketterer, 2017 (vols. 1-4) and Christie's, 2012 (vols. 1-3). The volumes sold in 2017, along with the ones at the ÖNB and BSB, belong to the normal edition without the watercolour embellishment and the artist's colouring, while the copy sold at Christie's would seem to have been at least comparable to Fries's in respect to its décor. However, neither the Christie's copy nor any of the others discussed above include any original watercolours, which are to be found in that of Fries's alone. - The splendid avian illustrations surrounded by landscape motifs and architectural decoration are labelled in red ink, identifying the animals' German and scientific names. The labelling is sometimes overpainted, suggesting that the decision to extend the watercolour décor was made at a later stage. The engravings were produced by five artists, among which were Benedikt Piringer and Sámuel Czetter. In vol. 5 of the Fideicommissum copy, Piringer signed one of the watercolours, proving that he provided templates for the engravers and contributed to the colouring. - Spalowsky's "Naturgeschichte der Vögel" was planned as part of a large natural history publication. In a subscription announcement from 1791 the surgeon and army physician advertised the plates showing species "previously not illustrated by any author" and promises the vivid, realistic colour "of the originals". A large proportion of the species depicted, including four falcons, originate from Asia, mostly from India and China, and are not to be found in Brisson's or Buffon's works. The present copy constitutes a special edition of the most expensive version of decoration, priced at 36 guilders - 15 times the cost of the plainest version. The eventual failure of this ambitious project was undoubtedly due not alone to the author's untimely death in 1797, although Spalowsky did succeed in wooing several prominent dedicatees for his elaborate publication. The "Naturgeschichte der Vögel" is dedicated to Alois I Joseph von Liechtenstein and Caroline von Manderscheid-Blankenheim (vol. 1), Beethoven's patron Franz Joseph Maximilian von Lobkowitz and Caroline Theresa von Schwarzenberg (vol. 4), Wenzel count Paar and Maria Antonia Princess Liechtenstein (vol. 5), as well as Anton Theodor von Colloredo-Waldsee-Mels, archbishop of Olmütz (vol. 6). - Provenance: 1) Maurice count Fries, with his library stamps, "EX BIBL(iotheca) MAVR(icii) COM(es) FRIES" to title-page (verso), now obscured by monogrammed red seals ("MF"); 2) Dorotheum sale, 12 Feb. 1932, lot 44, 75 ATS (description mounted to lower flyleaf of vol. 6); 3) Austrian private collection; 4) Dorotheum sale, 18 Dec. 2019, lot 222, not mentioning the Fries provenance or the 15 watercolours. - Marginal flaw to armorial supralibros of vol. 5. Lacks 3 plates (plate 2 in vol. 1, plates 6 and 39 in vol. 5). Index and plate 42 in vol. 4 have small flaws. Plate 31 in vol. 1, plate 43 in vol. 4, and plate 44, as well as one armorial engraving in vol. 5 slightly smudged. - Nissen, IVB 888. Schlenker 345.1. Wurzbach XXXVI.56. Sitwell/Buchanan p. 143. Not in Nissen, ZBI. Not in Anker.

Peterson was an internationally renowned ornithologist, naturalist, author, lecturer and artist. Nevertheless, out of all of these labels he first and foremost identified himself as an artist. Born in Jameston, New York, Peterson spent his youth sketching and observing birds in nearby rivers and fields, and reading books about the titans of ornithological illustration like Durer, Lear, Audubon and Fuertes. As he grew into adulthood, Peterson studied at the Art Students League and National Academy of Design, both in New York. After college, Peterson moved to Massachusetts in order to teach science and art. It was there that he developed his extremely influential system for identifying birds in the field. Peterson's system ultimately inspired him to publish his first Field Guide to the Birds in 1934. In spite of a severe economic depression, Peterson's Guide sold out in one week. His book would subsequently be re-released in 4 more editions. Peterson is rightly credited as one of the founding inspirations of the twentieth-century environmental movement, having tirelessly traveled the world to lecture on, observe, and record obscure and exotic species of birds. He also served as a vital member of the administrative staff of the National Audubon Society, managing the organization's educational programs and serving as the art editor of its magazine. Peterson also served as art director of the National Wildlife Federation for over three decades, and made environmental films in America, Europe, Africa, the Galapagos Islands, and Antarctica and the Artic. Peterson's works are part of the permanent exhibit at the Leigh Yawkey Woodson Art Museum in Wasau, Wisconsin, and have also been exhibited at the Smithsonian Institution. Peterson has received every major American award for natural science, ornithology, and conservation. He has also been the recipient of numerous honorary medals, diplomas, and citations, including the U.S. Presidential Medal of Freedom and the Order of the Golden Ark of the Netherlands. Peterson died at his home in Old Lyme, Connecticut in 1996. Signed and dated lower left: Roger Tory Peterson - '83'Signed, dated and inscribed verso: 'To My Ginny / With Love,/ Roger - / June '83' Size: 53 1/2 x 35 1/2inchesAcrylic and pencil on board. Book.

Hardcover. Etat : Fine. This historically significant manuscript is the 'First Zoological Inventory of Polynesia.' The work based on the research of Charles-Gaëtan Noury is entitled Frà gate la Sirene, commendà e par Mr. Noury Capitaine de Frà gate. Histoire naturelle. Voyage dans l'Oceanie, annà es 1847, 1848 & 1849. Iles de la Socià tà , Tahiti & Marquises, Nouka hiva and was unknown until 2017. The work was completed in France after 1850.The manuscript is in 6 volumes, one volume of text and five volumes with 458 illustrations (including 444 watercolors, 10 pen drawings, and 4 pencil drawings). Each illustration is mounted on card and often has French handwritten descriptors with local names. The five volumes with illustrations are bound in green half morocco with gold details and monogram of C.N. to the front boards. The text volume is bound in half-cloth. Also included in the lot is the manuscript published on behalf of the Belgian Academy of Sciences by Michel Jangou after the discovery of this one of a kind work of Noury's. Jangou's publication is entitled Voyage en Polynà sie (1847-1850): Le bestiaire oublià du capitaine Noury and was published in Brüssel in 2017 (available on Amazon as well).All of the illustrations and text were based on the scientific findings of Charles-Gaëtan Noury. It encompassed the entire animal kingdom of Polynesia creating the 'First Zoological Inventory of Polynesia.' Michel Jangou commented in his publication of the manuscript that "Noury produced a pioneering work, the first zoological inventory of Polynesia! He compiled it discreetly, with the invaluable help of a talented painter who remains anonymous. Since then, Noury 's manuscript and the watercolors which illustrate it have remained ignored by everything: it took more than a century and a half for the captain's work, still intact, to find the light and finally be revealed to us." (p. 39)Noury divided the animals into individual classes. The artist depicted the animals with brilliant colors and a mastery of detail. The manuscript depicted several previously unknown species. Watercolor number 183 features a detailed autographed commentary from Noury himself. Noury's text was mainly dedicated to his zoological findings with a smaller section on plants. The individual classes and sections are introduced by a summary table, which follows Milne Edwards zoological classification system of mammals, birds, reptiles, fish, ringed animals, insects, myriapods, arachnids, crustaceans, molluscs, and zoophytes. His descriptions were often enriched with island anecdotes.Charles-Gaëtan Noury (1809-1869) was a French naval officer and naturalist. He boarded the Sirà ne in Brest, France in 1846 as the deputy to Commander Lavaud. Lavaud had been appointed governor of the French settlements in Oceania. While Lavaud served as governor, Noury had command of the Sirà ne and stationed in Papeete (Tahiti). He dedicated himself to scientific research there and with the help of painters produced this remarkable astonishing manuscript.Noury had one work published in Nantes in 1861 entitled Album Polynà sien de M. C. Noury, Capitaine de Vaisseau which showed images of tattoos and artifacts of South Sea curiosities. This work with 15 plates is currently on the market at 25,000 EUR.This one of a kind manuscript from Noury offered here remained undiscovered for over 160 years. It features 458 illustrations and hand-written scientific text that make it a truly astonishing work for any collection.Additional photos available upon request. --- The work is in very good to excellent condition overall. The bindings are slightly rubbed. There can be some faint foxing to title or illustrations. There may be a few minor imperfections to be expected with age. Please review the image carefully for condition and contact us with any questions. --- Paper Size Image or Sheet Size ~ 12 3/4" by 8 1/4"; Mounting Card Size ~ 16 3/8" by 11 3/8" Image or Sheet Size ~ 12 3/4" by 8 1/4"; Mo. Signed by Author.

Unique acrylic, resin, formed paper and fiberglass, 1995, signed and dated on the relief centre left: 'F. Stella, 95', 136.5 x 137.2 cm. (53¾ x 54 in.) frieze23 At the end of the 19th century and the beginning of the 20th century fantastical tales of other worlds and eras began to grip the imaginations of the public. The title Atvatabar I references the science-fiction story The Goddess of Atvatabar by William Richard Bradshaw. The story is based on the theory that the planet on which we live is a hollow shell that is one thousand miles in thickness within which are entire continents and oceans that are all lit by an interior sun. Within this fictional earth, fifty million people worship a living goddess of surpassing beauty named Atvatabar. Stella's circular composition confines an abundance of abstract forms and structures, referencing the book's advanced social, philosophical and religious matrix that exist within the earth's interior walls. Given this piece is part of Stella's Imaginary Places series, it is not surprising that Bradshaw's book has earned its place, praised to be one of greatest imaginative efforts put forth by a modern writer.

Hardcover. Etat : Very Good. 1st Edition. 25 ORIGINAL PARTS, folio (22 1/8 x 15 1/4 in.; 56.2 x 38.7 cm). 367 exceptionally fine handcolored lithographic plates, most heightened with gum-arabic, by Gould, Henry Constantine Richter, Joseph Wolf and William Hart, most lithographed by Richter and Hart, printed by Walter or Walter and Cohn, 2 wood-engraved illustrations, part XXV with title-pages for volumes 1-5, 5-page list of subscribers, dedication leaf, preface, Introduction, list of plates for all 5 volumes, directions to the binder tipped in before front free endpaper; some minor spotting to the last plate of part VI and the first plate of parts XIII and XXV, very occasional isolated spots to other plates, occasional light mostly marginal spotting or foxing to text leaves, faint pigment offset from about 9 plates to accompanying text, bottom margin of Thrush plate in part IX bumped. Original pale green paper boards with wood-engraved vignette of a family of Grouse, dark green cloth spines; boards dust-soiled, some with age discoloration, ink splash on front cover of Part II, a few spines with splits or tears, spine cap of part XXV torn, corners and a few board edges bumped, a hinge or two slightly split. FIRST EDITION, AN EXTREMELY FINE, UNCUT COPY IN ORIGINAL PARTS. The parts were priced at three guineas each and contained 15 plates, except for part XXIV with 14 plates, and part XXV with the final 8 plates. The larger final part also contained the title-pages to each volume (I-V), dedication leaf, list of subscribers, preface, introduction, list of plates for each volume, and the binder's slip. As the work was so clearly intended for binding in five volumes, copies in original parts are scarce: in the past 50 years, only seven such sets have appeared at auction. "The most popular of all his works is always likely to be Birds of Great Britain" (Fine Bird Books), for which Gould found more subscribers than any of his other monographs, compelling him to increase the print run. In the preface Gould notes that some 280,000 plates had to be handcolored-given 367 plates per copy, about 750 copies were therefore produced. Often referred to as the most sumptuous and costly of all British bird books, the plates depict scenes with more sophisticated subjects than Gould's previous works by including nests, chicks, and eggs. In the preface Gould wrote that he "felt that there was an opportunity of greatly enriching the work by giving figures of the young of many of the species of various genera-a thing hitherto almost entirely neglected by authors; and I feel assured that this infantile age of birdlife will be of much interest for science." The text is longer than in any of his other works, and many of the illustrations were prepared from freshly killed specimens. Wolf, who drew 57 of the plates, had accompanied Gould on an ornithological tour of Scandinavia in 1856, and was responsible for persuading Gould and Richter to adopt a livelier treatment of the illustrations. Catalogued by E. R. Muller REFERENCES: Ayer/Zimmer p.261; Fine Bird Books p.78; McGill/Wood, p. 365; Nissen IVB 372; Sauer 23; Tree, A Ruling Passion, pp. 194-204 PROVENANCE: WITH THE ORIGINAL RECEIPT FOR THE PURCHASE OF PARTS 9 TO 16 OF THIS SET TO ORIGINAL SUBSCRIBER WILLIAM PETERS, FRAS, FRGS of Ashfold, Crawley, Sussex, for 25 pounds and 4 shillings, SIGNED BY JOHN GOULD ON 1 MARCH 1870; Robert Calvert (engraved armorial bookplate on the front pastedown of each part and his sale, Christie's London, 6 June 2007, lot 21) (L4F15 I-16 I). Signed by Author(s).

First edition. DISCOVERY OF THE STRUCTURE OF DNA. SIGNED BY ALL BUT ONE OF THE AUTHORS. First edition, offprint, signed by Watson, Crick, Wilkins, Gosling, Stokes & Wilson, i.e. six of the seven authors. We know of no copy signed by Franklin, and strongly doubt that any such copy exists. Furthermore this copy is, what we believe to be, just one of three copies signed by six authors. One of the most important scientific papers of the twentieth century, which "records the discovery of the molecular structure of deoxyribonucleic acid (DNA), the main component of chromosomes and the material that transfers genetic characteristics in all life forms. Publication of this paper initiated the science of molecular biology. Forty years after Watson and Crick's discovery, so much of the basic understanding of medicine and disease has advanced to the molecular level that their paper may be considered the most significant single contribution to biology and medicine in the twentieth century" (One Hundred Books Famous in Medicine, p. 362). "The discovery in 1953 of the double helix, the twisted-ladder structure of deoxyribonucleic acid (DNA), by James Watson and Francis Crick marked a milestone in the history of science and gave rise to modern molecular biology, which is largely concerned with understanding how genes control the chemical processes within cells. In short order, their discovery yielded ground-breaking insights into the genetic code and protein synthesis. During the 1970s and 1980s, it helped to produce new and powerful scientific techniques, specifically recombinant DNA research, genetic engineering, rapid gene sequencing, and monoclonal antibodies, techniques on which today's multi-billion dollar biotechnology industry is founded. Major current advances in science, namely genetic fingerprinting and modern forensics, the mapping of the human genome, and the promise, yet unfulfilled, of gene therapy, all have their origins in Watson and Crick's inspired work. The double helix has not only reshaped biology, it has become a cultural icon, represented in sculpture, visual art, jewelry, and toys" (Francis Crick Papers, National Library of Medicine, profiles./SC/Views/Exhibit/narrative/). In 1962, Watson, Crick, and Wilkins shared the Nobel Prize in Physiology or Medicine "for their discoveries concerning the molecular structure of nucleic acids and its significance for information transfer in living material." This copy is signed by all the authors except Rosalind Franklin (1920 -1958) - we have never seen or heard of a copy signed by her. In 1869, the Swiss physiological chemist Friedrich Miescher (1844-95) first identified what he called 'nuclein' inside the nuclei of human white blood cells. (The term 'nuclein' was later changed to 'nucleic acid' and eventually to 'deoxyribonucleic acid,' or 'DNA.') Miescher's plan was to isolate and characterize not the nuclein (which nobody at that time realized existed) but instead the protein components of leukocytes (white blood cells). Miescher thus made arrangements for a local surgical clinic to send him used, pus-coated patient bandages; once he received the bandages, he planned to wash them, filter out the leukocytes, and extract and identify the various proteins within the white blood cells. But when he came across a substance from the cell nuclei that had chemical properties unlike any protein, including a much higher phosphorous content and resistance to proteolysis (protein digestion), Miescher realized that he had discovered a new substance. Sensing the importance of his findings, Miescher wrote, "It seems probable to me that a whole family of such slightly varying phosphorous-containing substances will appear, as a group of nucleins, equivalent to proteins". But Miescher's discovery of nucleic acids was not appreciated by the scientific community, and his name had fallen into obscurity by the 20th century. "Researchers working on DNA in the early 1950s used the term 'gene' to mean the smallest unit of genetic information, but they did not know what a gene actually looked like structurally and chemically, or how it was copied, with very few errors, generation after generation. In 1944, Oswald Avery had shown that DNA was the 'transforming principle,' the carrier of hereditary information, in pneumococcal bacteria. Nevertheless, many scientists continued to believe that DNA had a structure too uniform and simple to store genetic information for making complex living organisms. The genetic material, they reasoned, must consist of proteins, much more diverse and intricate molecules known to perform a multitude of biological functions in the cell. "Crick and Watson recognized, at an early stage in their careers, that gaining a detailed knowledge of the three-dimensional configuration of the gene was the central problem in molecular biology. Without such knowledge, heredity and reproduction could not be understood. They seized on this problem during their very first encounter, in the summer of 1951, and pursued it with single-minded focus over the course of the next eighteen months. This meant taking on the arduous intellectual task of immersing themselves in all the fields of science involved: genetics, biochemistry, chemistry, physical chemistry, and X-ray crystallography. Drawing on the experimental results of others (they conducted no DNA experiments of their own), taking advantage of their complementary scientific backgrounds in physics and X-ray crystallography (Crick) and viral and bacterial genetics (Watson), and relying on their brilliant intuition, persistence, and luck, the two showed that DNA had a structure sufficiently complex and yet elegantly simple enough to be the master molecule of life. "Other researchers had made important but seemingly unconnected findings about the composition of DNA; it fell to Watson and Crick to unify these disparate findings into a coherent theory of genetic transfer. The organic chemist Alexander Todd had determined t.

First editions of all fourteen James Bond books, each in their original [first state] dustwrapper, without repair or restoration. On Her Majesty's Secret Service is the limited edition, numbered and signed by Ian Fleming. The Man with the Golden Gun, is signed by and from the collection of the dustwrapper artist Richard Chopping. Together with six of the earliest continuation novels: Kingsley Amis' The James Bond Dossier and Colonel Sun (as Robert Markham); John Gardner's Licence Renewed; For Special Services (signed); Icebreaker (signed); Nobody Lives For Ever. A stunning set, a full catalogue description for each book is available on request. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers.

Small folio (185 x 290 mm). Persian manuscript on polished paper. 221 ff. (lacking 7 ff.). 12 lines of black nasta'liq, written in two columns, set in blue, green, red, and gilt borders. With 5 full-page miniatures, marginal floral and Safavid style bestiary decorations on the first pages and middle miniature pages, a central blue rosette (shamse) in the middle written with gilt. Bound in full brown morocco with a fore-edge flap, covers and flap decorated with a central mandorla and spandrels in gilt, the interior of both covers and flap decorated with filigree in blue, red, and gilt. Very early, stunningly illuminated manuscript of Jami's Diwan, one of the earliest documented works of the renowned calligrapher Muhammad ibn Mulla Mir (Al-Husaini Al-Ustadi). - This splendid manuscript, written in an elegant nasta'liq script, includes five ornate miniatures by two different artists: four may have been added by later hands, but the earliest illustration, along with its beautiful marginal decorations, appears to be in the hand of the scribe Ibn Mulla Mir himself. The colophon states the finishing date in numerals and script as Rajab 998 (May/June 1590) and bears the distinctive signature of the calligrapher. - As one of the most celebrated scholars and poets of 15th century Persian literature, Jami is a canonical name that influenced mystics and poets of the Islamic world for centuries. He grew up in Jam, a small village in Herat, and started to use his pen-name Jami as a tribute to his hometown. In his youth, his studies at Nizamiyyah University included philosophy, mathematics, the natural sciences, literature, and the Arabic language. Well-educated and well-travelled, Jami taught in Samarkand, held an important position at the Timurid court, and befriended and mentored the Turkish poet Alishir Nevai, considered the greatest representative of Chagatai literature. Celebrated during his lifetime in the Islamic world; Jami received many invitations from various sultans who desired to have him at their courts, but he rejected them. Thirty-six of his works, ranging from Islamic studies to poetry, have survived to the present day. This manuscript is his well-celebrated Diwan, mostly composed of ghazals, qasides, and quatrains. - This beautifully crafted manuscript is thought to be one of the earliest works of the calligrapher, Muhammad ibn Mulla Mir. Although his works listed in Mehdi Bayani's catalogue range from 1010 to 1038 AH (1602-28 CE), his earliest known manuscript, a copy of Jami's "Salaman and Absal", dates back to 989 (1581) and is held in the collections of National Library of Russia (PNS 145). Another well-known manuscript copied by this scribe is held in the Metropolitan Museum of Art (MS 13.228.16). He is known usually to sign his manuscripts as "Mohammad ibn Mulla Mir Al-Husayni Al-Ustadi", indicating his lineage and probably the fact that his father was also a scribe, but Bayani also records an example in which he signed his name as he did in the present manuscript. - Small paper tears, dampstaining, occasional colour fading in the margins, paper rubbed on some pages, occasional stains, ink smudges and browning. A single marginal paper repair, not affecting the text. 2 poems written in the margins of two pages by a different hand. 7 leaves appear to be missing. Binding rubbed, spine and flap professionally repaired. - UK private collection. - Mahdi Bayani, "Ahwal va-Attar-e Khoshnevisan", vol. 3 (Tehran, 1343/1984), pp. 840f. Olga Vasileva & Olga Yastrebova, "'Abd al-Rahman Jami, Poet, Scholar and Mystic" (St Petersburg, National Library of Russia, 2017), p. 87.

First French edition of the Constitution of the United States of America, inscribed by Founding Father Benjamin Franklin who had the translation published and personally distributed each of the 600 copies produced. Octavo, bound in one quarter calf with gilt ruling to the spine, burgundy morocco spine label lettered in gilt. Presentation copy, inscribed by Benjamin Franklin on the front free endpaper, "A Madame, Madame la Presidente de Manieres [sic] de la parte du. B. Franklin." The recipient, Madame Durey de Meinires was a a French writer best known for her translations of Samuel Johnson, David Hume, and Sarah Fielding. On March 24th, 1783, Franklin wrote to the Comte de Vergennes, "I am desirous of printing a translation of the Constitutions of the United States of America, published at Philadelphia, by Order of Congress. Several of these Constitutions have already appeared in the English and American newspapers but there has never yet been a complete translation of them." At Franklin's suggestion, the Duc de La Rochefoucault produced the first French translation, and FranklinÂis believed to have contributed the fifty-plus footnotes.ÂFranklin had 600 copies of Constitutions des Treize Etats-Unis de l'Amerique privately printed by Philippe-Denis Pierres, first printer ordinary of Louis XVI, which were not made available for sale. Franklin distributed them himself, and was happy to fulfill the request of Madame Durey de Meinires, who wished to receive a copy. On August 31, 1783, Franklin sent a copy of the newly published volume to Madame Durey de Meinires, along with a letter, "I send with great Pleasure the Constitutions of America to my dear & much respected Neighbour, being happy to have any thing in my Power to give that she will do me the honour to accept, and that may be agreeable to her." The inscribed page included in the present volume was previously sold as a loose flyleaf by Charles Hamilton in 1959, and it has since been professionally tipped into an edition of the book with which it was originally sent. The book contains the Constitutions of each of the thirteen States of America, the Declaration of Independence of the 4th of July 1776, the Friendship and Commerce Treaty, the Alliance Treaty between France and the United States, as well as the treaties between the United States and the Netherlands and Sweden. The title page contains the first appearance of imprint of the United States seal in a book. Franklin's grand gesture in publishing and distributing these constitutionsâ about which there was intense interest and curiosity among statesmenâ was one of his chief achievements as a propagandist for the new American republic. In good condition. Benjamin Franklin earned the title of "The First American" for his early and indefatigable campaigning for colonial unity, initially as an author and spokesman in London for several colonies. As the first United States Ambassador to France, he exemplified the emerging American nation. Franklinâ s contributions to science and politics were immense and his passion for making books more available to a broader audience prompted him to establish North Americaâ s first subscription library. In 1731, Franklin convinced the members of his Junto (a mutual improvement club he founded) to pool their money to purchase books they would collectively share. The collection became the Library Company of Philadelphia and is now regarded as the predecessor to the public library. Franklin was also instrumental in the establishment of the Library of the Pennsylvania Hospital (North Americaâ s first medical library), the Pennsylvania State Library, The Library of the American Philosophical Society, and the Library of the University of Pennsylvania.

No Binding. Etat : Fine. HERMAN HENSTENBURGH (DUTCH, 1667-1726) Still-life with a monkey and a basket of flowers on a stone ledge Watercolor and gouache within black framing lines, on vellum Paper size: 16 1/2 x 12 3/4 in Frame size: 25 1/2 x 21 7/8 in Signed l. r.: H. Henstenburgh. fec= Provenance: Pieter van den Brande and/or Johan Pieter van den Brande, Middelburg; by descent to E. C. Baron van Pallandt; sold by him, Amsterdam, Mak van Waay, 26 September 1972, lot 336; private collection The development of natural history painting paralleled progress in the field of science. Drawing played an essential role in the advancement of natural history. The influence of animal and plant illustration directly affected the development of allegorical and trompe l il painting. The Dutch were at the forefront of these developments and managed to forge a remarkable synthesis between concern for scientific truth and the decorative and exotic aspects of natural history. Imaginative compositions joined flowers and birds with insects and reptiles to create fantastical juxtapositions imbued with symbolic meaning. Snakes, lizards, and frogs had powerful symbolic connotations and were related to Medusa's theme. Butterflies were also associated with mythology and specifically the story of Psyche and the theme of Vanities. The caterpillar corresponds to man, the chrysalis to death, and the butterfly to the soul after the resurrection. Herman Henstenburgh produced exemplary examples of this genre. In his remarkable paintings, he creates a play of lines and colors that can be appreciated not merely for its decorative aspects but also as a departure from the naturalist's strictly narrative view towards an art approaching abstraction. Henstenburgh was a pupil of Johannes Bronckhorst, a fellow native of Hoorn in the Netherlands. According to contemporary accounts, his early works imitated those of his master, depicting birds and landscapes. He later broadened his repertoire to include exquisite flower and fruit pieces and occasional woodland still-lifes. For his flawless draftsmanship and vibrant colors, Henstenburgh won considerable renown even during his lifetime. Loca: 6.3WCC.4D.

340 pencil drawings, drawn by Alfred Hitchcock, one drawing highlighted in blue, each sheet with three boxes (or cells) with 3 pencil sketches, 46 cells are left blank and 22 drawings were crossed out. Numbering in the left-hand margin in pencil and red crayon (1-152, 240-293, plus 8 leaves numbered in Roman numerals at the end for the final scenes: pursuit in the theatre; decapitation by the theatre's security curtain and final scene), autograph annotations, directions and revisions throughout, one or two "camera angle" diagrams sketched out on left-hand pages. In all 130 loose sheets (208 x 262 mm), in pencil, mostly only recto, but three leaves are drawn also on verso. Sketch of a profile behind scenes 103 and 104; sketch of a stage setting behind scenes 98 A, 98 B and 99. Original black cloth folder-binder, blindstamped with paper label on the front cover and inscription "J. Martin" in faded red ink and "Stage Fright / R. Todd / M. Dietrich / M. Wilding" in blue ink. Preserved in a fitted case. Extraordinary autograph pre-production storyboard for Hitchcock's 1950 film "Stage Fright", comprising preparatory sketches for some three quarters of the film, including the infamous "false flashback" initial sequence, the rest of the first half of the film, the garden party scene and the finale. A rare collection of sketches and comments detailing how the legendary director crafted his scenes. - "Stage Fright" is a 1950 British noir thriller directed and produced by Alfred Hitchcock and starring Jane Wyman, Marlene Dietrich, Michael Wilding, and Richard Todd. The film was shot in London and Elstree in 1949, on a brief sojourn from California where Hitchcock had been working since 1940, and in some ways it was a return to the style (and humour) of his earlier British films. The crime thriller, centered on a killer who dupes a woman friend into helping him try to escape police after he murdered his actress lover's husband, was much criticised on release for the extraordinary "unreliable flashback" or "false flashback" scene, which Hitchcock famously considered his second greatest career mistake (after the death of the little boy in "The Secret Agent"). Posterity has been rather kinder: the device has influenced later generations of filmmakers more interested in artifice than truth, and the film as a whole has seen a partial critical reassessment in recent years. - Hitchcock had trained as a draughtsman and worked in advertising before turning to film, and his use of extensive storyboards, down to the finest detail of production, is well known. One of the myths to have built up around his career maintains that, after planning and storyboarding his films so thoroughly, once on set Hitchcock never so much as peeked through the camera viewfinder, bearing each scene from start to finish precisely in his head. - The sketches for "Stage Fright" include very precise directions for the actors and for camera angles which would have left the crew with little room for imagination ("pan up from stain", "CU" (close-up), "Dolly in to a dolly", "Back to Eve. Pan then out until the couple are in waist-shot going through the door"). Some of the most memorable shots of the film were clearly planned in advance and can be seen here: the car driving up to the camera at the beginning, the first shot of Alistair Sim framed in a lead window, the blood-stained dress shots, the blurring as Doris Tinsdale tries on her glasses, the umbrellas at the garden party and the finale with the stage curtain. But at the same time there are significant differences from the finished film, and this storyboard demonstrates that sequences and shots were dropped, added or amended during production. - The production files for all the other post-1940 films are in the Hitchcock Archives at the Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverley Hills. - In excellent condition throughout notwithstanding one or two dampstains; the last few leaves a little creased and frayed at edges. Provenance: 1) Jack Martin (1899-1969), first assistant director on "Stage Fright" (his credits also include assistant director on "Moby Dick" and production manager on "This Happy Breed"); 2) Hugh Harlow (b. 1939), assistant director and production manager on many films. - Includes a signed portrait photograph of Hitchcock at work on the storyboard drawings of his first American film, "Rebecca", in mid-1939, with Daphne du Maurier's novel opened before him and strewn with the cards on which the director would set out in sketched illustrations every detail of the film as he envisaged it.

First edition. EXTREMELY RARE LARGE AND THICK PAPER COPY. First edition, extremely rare large and thick paper copy, of the most lavishly illustrated astronomical work published in the first half of the seventeenth century, with many full-page illustrations of Scheiner's observations of the sun and of the optical instruments he had designed for the purpose. "For his masterpiece, Scheiner produced the first monograph on a heavenly body, the Sun. Even today it is still an impressive volume, with scores of engravings of sunspots and the various instruments needed for solar observations" (Jesuit Science in the Age of Galileo). "Scheiner's drawings in the Rosa Ursina are of almost modern quality, and there was little improvement in solar imaging until 1905" (Britannica). In this work "Scheiner agreed with Galileo that sunspots are on the Sun's surface or in its atmosphere, that they are often generated and perish there, and that the Sun is therefore not perfect. Scheiner further advocated a fluid heavens (against the Aristotelian solid spheres), and he pioneered new ways of representing the motions of spots across the Sun's face" (Galileo Project). Scheiner was one of the first to observe sunspots by telescope, in March 1611, and in 1612 he published his findings anonymously. This led to a famous controversy with Galileo, who claimed to have observed sunspots earlier, involving the exchange of several letters. Galileo then turned to other matters, notably the preparation of the Dialogo, but Scheiner continued his observations of sunspots, culminating in the publication of the present work more than a decade later. Scheiner devised a number of new instruments in order to make his observations. Kepler had conceived the 'astronomical' telescope, consisting of two converging lenses, but he never constructed one. Scheiner was the first to do so, and he added a third convex lens which transformed the inverted image into an erect one and greatly increased the field of view and brightness of the image. Scheiner also invented the first equatorially mounted telescope. All of these instruments are described and illustrated in Rosa Ursina, in which "Scheiner confirmed his method and criticized Galileo for failing to mention the inclination of the axis of rotation of the sunspots to the plane of the ecliptic" (DSB). But when the Dialogo was published in 1632, Scheiner was dismayed to find that Galileo dismissed Scheiner's work and claimed there that he [Galileo] had known of the curved motion of sunspots and its explanation in terms of the inclination of the Sun's axis since 1614 (although the evidence casts serious doubt on Galileo's claims). "It has been said that his [i.e., Scheiner's] enmity toward Galileo was instrumental in starting the process against the Florentine in 1633" (Galileo Project). Although this book appears on the market from time to time, we have been unable to locate any large paper copies in auction records. This copy measures 405 x 260mm; for comparison, the Macclesfield copy (in contemporary binding) was 350 x 230mm. Scheiner (1573-1650) was appointed professor of Hebrew and mathematics at the Jesuit College at Ingolstadt in 1610. The following year Scheiner, together with his student Johann Baptist Cysat (1587-1657), constructed a telescope with which to observe the satellites of Jupiter, partly to investigate the claims made by Galileo in Sidereus nuncius (1610). At sunrise one day in March, they decided to observe the sun and noticed dark spots on its surface, although initially they were unsure whether this might be due to flaws in the lenses or to clouds. Scheiner was preoccupied with observations of Jupiter, and also of Venus, but Cysat persuaded him to return to the solar observations using coloured glass to enable them to observe in full daylight, a technique that was used by sailors when taking the altitude of the Sun. This was on 21 October, as Scheiner tells us in Rosa Ursina (Ad Lectorum, p. [2]). Others soon became aware of his observations, including the well-connected Augsburg humanist Marc Welser (1558-1614). Scheiner wrote three letters to Welser, dated 12 November and 19 and 26 December, which Welser published at his private press under the title Tres epistolae de maculis solaribus (1612). They appeared pseudonymously, as Scheiner's Jesuit superiors urged caution, and were signed Apelles latens post tabulum, 'Apelles hiding behind the painting' (this refers to a story told by Pliny, well known in the Renaissance, about the famed Greek painter Apelles hiding behind one of his pictures to hear the comments of spectators). Welser sent copies abroad, notably to Galileo (1564-1642). Galileo identified Scheiner as a Jesuit and took him to task in three letters addressed to Welser, to which Scheiner replied in a further series of letters published as De maculis solaribus . accuratior disquisitio (1612). In this work Scheiner discussed the individual motions of the spots, their period of revolution, and the appearance of brighter patches or faculae on the surface of the sun. Galileo's letters were published in Rome in 1613 as Istoriae dimostrazioni intorno alle macchie solari. His criticism of Scheiner's priority claims was misconceived, for the sunspots were observed independently not only by Galileo in Florence and Scheiner in Ingolstadt, but also by Thomas Harriot in Oxford (who was the first to observe them by telescope), Johann Fabricius in Wittenberg (who was the first to publish a work on sunspots), and Domenico Passignani in Rome. Having declared victory with the publication of Istoria e dimostrazioni, Galileo turned to other matters, notably the controversy on the comets (in which Scheiner may have played a role behind the scenes) and the preparation of the Dialogo. Scheiner was admonished personally by Claudio Aquaviva (1543-1615), the Superior General of the Jesuits, to follow the doctrines of traditional philosophy, and in his publications he now concentrated on the strictly.

First edition. DAGUERREOTYPE - "THE BEGINNINGS OF PHOTOGRAPHY" (HORBLIT) - THE TRUE FIRST PRINTING. First edition, the true first issue (see below), of Daguerre's exposition of his photographic process, "the beginnings of photography" (Horblit); this is an excellent unrestored copy in original printed wrappers, and very rare in this condition. "Perhaps no other invention ever captured the imagination of the public to such a degree and conquered the world with such lightning rapidity as the daguerreotype" (Gernsheim, p. 71). "The daguerreotype is a photographic image with a mirror-like surface on a silver or silver-coated copper plate. A unique photograph, the daguerreotype is not produced from a negative, and the final image appears either positive or negative depending on the angle of reflected light" (Hannavy, p. 365). Daguerre (1787-1851), a gifted set designer and creator of the famous Diorama, a picture show based on lighting effects, began experimenting in the 1820s with fixing the images of the camera obscura on silver chloride paper. His lack of success stimulated his interest in the heliographic method invented by Nicéphore Niépce (1765-1833), who had produced the first successful photographic image in 1826 or 1827 on a pewter plate coated with bitumen of Judea dissolved in oil of lavender, and in 1829 Daguerre succeeded in persuading the reluctant Niépce to become his partner. After Niépce's death in the spring of 1835, Daguerre serendipitously discovered a quicker method of exposing and developing the Niépcian image through the application of mercury vapour. Using this method, with common table salt as the fixative, he produced his first successful permanent photographic image in 1837. On August 19, 1839 the scientist-politician François Arago (1786-1853) made a full announcement of the new process to a packed house at a joint meeting of the Académies des Sciences and des Beaux-Arts at the Institut de France. According to Beaumont Newhall, the first issue of Daguerre's manual, published by order of the government, was released on or about 20 August 1839 and bears the imprint of Giroux et Cie, and Delloye; only two institutional copies of this issue are known. Pierre Harmant, however, has convincingly demonstrated that Newhall was in error in assigning the Giroux issue priority of publication, and that the present issue, released for sale on 14 September, printed by Béthune et Plon, and with the imprint of Susse Freres, Editeurs, and Delloye, was in fact the true first publication of Daguerre's Manual, as it was called (see below for further details of Harmant's argument). A total of 39 reprints, new editions, and translations appeared in the following 18 months. The great demand accounts for the profusion of issues of the first edition: seven are recorded, all from the same basic setting of type. Of these the first four differ in the booksellers' names alone. Only three copies of this printing in unrestored original printed wrappers have appeared at auction since Honeyman: those of Richard Green (Christie's New York, 2008), Marie-Thérèse & André Jammes (Sotheby's Paris, 2002), and Meyer Friedman (Sotheby's New York, 2001). The Norman copy, which realised $40,250 in 1998, was rebound with the original wrappers bound in, the wrappers "defective and laid down" (Norman sale catalogue). "Louis-Jacques Mandé Daguerre was born on 18 November 1787 at Cormeilles-en-Parisis. His childhood was spent at Orleans, where his father was employed as a clerk on the royal estate. Showing talent for drawing, the boy was apprenticed to an architect at the age of thirteen, and three years later became a pupil of Degotti, scene painter at the Paris Opera. Later he made himself independent and designed the decor for the productions of several Paris theatres. He also collaborated with Prevost on a number of large panoramas - a kind of show which enjoyed immense popularity in the last decade of the eighteenth and first half of the nineteenth centuries . In 1822 Daguerre associated himself with the painter Charles Bouton (an assistant of Prevost) in a new venture, the Diorama, a picture show with changing light effects which aroused astonishment and admiration by its perfect illusion of reality" (Gernsheim, p. 65). The realism of the paintings in the Diorama, which so impressed Daguerre's audiences, was achieved by tracing images projected by a camera obscura. "Was it not natural that he, like Fox Talbot some years later, should have wished to find a method by which the fugitive image, which he was so laboriously tracing, could be made to delineate itself? Obsessed by this idea, Daguerre equipped a laboratory at the Diorama near the Place de la République in Paris, and there for several years he carried out mysterious experiments, shutting himself in his workroom for days on end. The famous chemist, J. B. Dumas, relates that Madame Daguerre consulted him one day in 1827 as to whether or not he thought it possible that her husband would be able to fix the images of the camera. 'He is always at the thought; he cannot sleep at night for it. I am afraid he is out of his mind; do you, as a man of science, think it can ever be done, or is he mad?' 'In the present state of knowledge', replied Dumas, 'it cannot be done; but I cannot say it will always remain impossible, nor set the man down as mad who seeks to do it'" (ibid., p. 66). Daguerre's fortunes changed only when he came into contact with Nicéphore Niépce. "Niépce's first experiments with light-sensitive materials placed in a homemade camera obscura were conducted in 1816. He succeeded in taking impressions of views out of his workroom window using paper covered with muriate (or chloride) of silver, but the images were not permanent. Moreover, they were negative images, and attempts to print them in the positive were not successful . It was at this point that he began to experiment with bitumen of Judea as a light-sensitive coating. The bitumen, he had discovered, har.

Etat : Fine. Etat de la jaquette : Fine. First edition. FIRST EDITION, FIRST ISSUE of Rand's masterpiece; INSCRIBED BY RAND TO LUDWIG VON MISES: "To Dr. and Mrs. Ludwig von Mieses- / -Cordially- / Ayn Rand / 8/22/57". A spectacular association copy linking two of the most influential economic figures of the twentieth century. In August 1957 -nearly two months before the book was available to the public - Rand presented this copy of the first edition of Atlas Shrugged to Ludwig von Mises (sometimes spelled "von Mieses"), the Austrian-American economist and philosopher who was one of the leading figures of the modern libertarian movement, and immediately found a sympathetic ear. After reading Atlas Shrugged, von Mises wrote to Rand, offering strong praise for the book. In a letter to Rand dated January 23, 1958, he wrote:â â ". I enjoyed very much reading Atlas Shrugged and. I am full of admiration for your masterful construction of the plot. But 'Atlas Shrugged' is not merely a novel. It is also-or may I say firstof all-a cogent analysis of the evils that plague our society, a substantiated rejection of the ideology of our self-styled 'intellectuals' and a pitiless unmasking of the insincerity of the policies adopted by governments and political parties. It is a devastating exposure of the 'moral cannibals,' the 'gigolos of science' and of the 'academic prattle' of the makers of the 'anti-industrial revolution.' You have the courage to tell the masses what no politician told them:you are inferior and all the improvements in your conditions which you simply take for granted you owe to the effort of men who are better than you. â â "If this be arrogance, as some of your critics observed, it still is the truth that had to be said in this age of the Welfare State.â â "I warmly congratulate you and I am looking forward with great expectations to your future work." The intellectual and philosophical bond between Rand and von Mises remained strong and the Ludwig von Mises Institue notes that "it was largely as a result of Ayn's efforts that the work of von Mises began to reach its potential audience" (Roderick Long).â â Ayn Rand inscribed this copy on August 22, 1957, while the book was not available to the public until October 10, 1957, making this one of the earliest known inscribed copies. (We've located two other copies - inscribed to Cecil B. DeMille and Liln E. Rogers, the mother of Ginger Rogers, - inscribed on the same day.) A remarkable association linking two of the most important defenders of classic liberalism of the 20th century. New York: Random House, 1957. Thick octavo, original green cloth, original dust jacket; custom box. Only the most trivial wear. â â A beautiful copy, and one of the most significant copies, of one of the most influential books of the century. Original cloth, original dust jacket.

couverture souple. - S.n., s.l. 1887, divers, 11 pages sur 7 feuillets pour les manuscrits + 4 feuillets pour la transcription. - | Uniques archives en mains privées du fondateur du libéralisme et de la science économique moderne | Exceptionnel ensemble d'archives manuscrites et imprimées - le dernier en mains privées - du fondateur du libéralisme et de la science économique moderne, Léon Walras, conservées et annotées par William Jaffé. L'un des 5 plus importants ensembles d'archives de celui que Schumpeter considérait comme le « plus grand de tous les économistes ». Cet ensemble de 42 documents d'importance, comprenant des manuscrits autographes complets, des épreuves corrigées, des tirés à part abondamment annotés, et des ouvrages imprimés enrichis, fut adressés par Aline Walras puis Gaston Leduc à William Jaffé qui ajouta sur certain ses notes autographes et établit grâce à eux la première traduction des Eléments d'Economie politique Pure. Léon Walras, inventeur de la théorie de l'équilibre économique, a en effet bouleversé la conception classique en imposant des équations mathématiques pour expliquer et influencer l'économie. Concomitamment avec Jevons et Menger, il fonde la théorie marginaliste, qui deviendra un pilier de la Science économique du XXeme siècle, comme le notait déjà à Milton Friedman, dans son essai consacré à Léon Walras à l'occasion de la traduction par Jaffé des Elements of Pure Economics : « it belongs on [any student's] "five foot shelf." [.] A person is not likely to be a good economist who does not have a firm command of Walrasian economics » (Milton Friedman) Malgré l'importance de la pensée de Léon Walras, les documents originaux, autographes ou imprimés du fondateur de l'Ecole de Lausanne, sont d'une extrême rareté, tant en mains privées, qu'en ventes publiques ou en institutions. *** PROVENANCE ET HISTOIRE DES ARCHIVES WALRAS Fondateur de la Science économique avec Stanley Jevons et Carl Menger, on lui attribue la paternité du Libéralisme, omettant généralement son engagement social et humaniste. La théorie de l'équilibre économique élaborée par Walras a en effet bouleversé la conception classique de l'Economie qui, depuis Smith, Riccardo et Marx fonde la valeur sur le travail nécessaire à la production et sur l'opposition des classes sociales. Malgré l'importance de la production de Léon Walras, les documents originaux, autographes ou imprimés de l'un des plus importants économistes de la fin du XIXème siècle sont d'une extrême rareté, tant en mains privées, qu'en ventes publiques ou en institutions. Cette extrême rareté a contribué à une méconnaissance du nom de Walras, cependant que les co-fondateurs de la théorie marginale, sont souvent présentés comme ses prédécesseurs. Or comme l'écrit l'historien de la pensée économique Mark Blaug : « La Théorie de l'économie politique de Jevons (1871) n'a pas été bien accueillie lors de sa parution, mais elle a été lue. Les Principes d'économie de Menger (1871) furent à la fois lus et bien accueillis, du moins dans son propre pays. Mais l'ouvrage en deux parties de Walras, Éléments d'économie pure (1844-1877), fut monstrueusement négligé partout. (.] Walras s'est fixé une tâche qui allait au-delà de Jevons et Menger, ses co-découvreurs de la théorie de l'utilité marginale, à savoir écrire et résoudre le premier modèle multi-équationnel d'équilibre général sur tous les marchés. De plus, Walras allait bien au-delà de Jevons en employant un mode d'exposition mathématique, ce qui suffisait à effrayer la plupart de ses lecteurs contemporains. Mais alors que Jevons et Menger sont désormais considérés comme des monuments historiques, rarement lus uniquement pour eux-mêmes, l'appréciation posthume de l' uvre monumentale de Walras s'est si nettement développée depuis les années 1930 qu'il est peut-être aujourd'hui l'économiste du XIXe siècle le plus lu après Ricardo et Marx, notamment depuis la traduction des Éléments en anglais en 1954. » (1) Ce n'est en effet que gr.

Exceptionally large armillary sphere with rich calligraphical and ornamental decoration as an image of the universe. The celestial sphere is surrounded in the centre by rings with the signs of the zodiac (outside) and various planet symbols. The names of the zodiac signs and months are engraved in Arabic. Signed and dated by the artist, an "Alexander", in the year 1125 AH. A nearly identical object is kept at the Globe Museum of the Austrian National Library at Vienna (item GL. 214), there classified as "Persian/Arabic". While simple celestial globes are not uncommon in the trade, elaborate specimens of the present size (53 cms) are very rare. Slightly soiled and corroded, but hardly rubbed.

original casing. Etat : Very Good. First edition. USED TO LAUNCH THE DIGITAL REVOLUTION, TWICE: This oscilloscope was used to design Pong, the birth of the video game industry, and the Apple II, the first personal computer with hi-res color graphics. The present oscilloscope is a remarkable artifact, having played a critical role in launching two of the most consequential products in the history of the digital revolution: Atari's Pong and the Apple II computer. Very few artifacts of comparable importance to the digital revolution have come to market. In 1970, Tektronix introduced the Tektronix 465, a powerful and portable transistorized oscilloscope that quickly became the standard instrument for digital logic designers. In 1972 Atari purchased a 465 - the very oscilloscope offered here - for their chief engineer, Al Alcorn. I. THIS OSCILLOSCOPE WAS USED BY AL ALCORN TO DESIGN THE GAME PONG: The introduction of Pong in 1972 marked the birth of the video game industry. Several years later, Wozniak and Alcorn became acquainted through Steve Jobs, who worked at Atari under Alcorn. "I hiredSteve Jobson a fluke, and he's not an engineer. His buddy Woz was working at HP, but we were a far more fun place to hang out. We had a production floor with about 30 to 50 arcade video games being shipped, and they were on the floor being burnt in. Jobs didn't get along with the other guys very well, so he'd work at night. Woz would come in and play while Jobs did his work, or got Woz to do it for him. And I enjoyed Woz. I mean, this guy is a genius, I mean, a savant." (Al Alcorn in IEEE Spectrum, April 2020). Later, in 1976, Alcorn loaned his Tektronix 465 to Wozniak while Wozniak was designing the Apple II. II. THIS OSCILLOSCOPE WAS CRITICAL TO ACHIEVING ONE OF APPLE II'S MOST CONSEQUENTIAL FEATURES: HIGH RESOLUTION COLOR GRAPHICS. The Apple II was revolutionary in part because it displayed high resolution color graphics when connected to a color television set. To accomplish this, Wozniak used a trick for exploiting the NTSC color system built into color tv sets. Woz learned this trick from Alcorn: "I actually loaned them my oscilloscope, I had a 465 Tektronix scope, which I still have, and they designed the Apple II with it. I designedPongwith it. I did some work, I think, on the [audio] cassette storage. And then I remember showing Woz the trick for the hi-res color, explaining, sitting him down and saying, "Okay, this is how NTSC issupposedto work." And then I said, "Okay. Now therealityis that if you do everything at this clock [frequency] and you dothiswith a pulse of square waves." And basically explained the trick. And he ran with it. That was the tradition. I mean, it was cool. I was kind of showing off!" (Alcorn, IEEE Spectrum, April 2020). The Apple II revolutionized the computer industry in large part precisely because it had color graphics and supported video game play. But before the Apple II could launch the PC revolution, Apple needed resources to transition from the Apple I and the hobbyist market into the broader consumer market. III. WOZNIAK'S HIGH RESOLUTION COLOR GRAPHICS WERE CRITICAL TO APPLE'S LAUNCH. Even before the Apple II made a huge impact in the consumer market, Wozniak's revolutionary graphical display was critically important in simply getting Apple launched as a viable business. The Apple I had been a very modest success, but Jobs and Wozniak needed money to move forward with the Apple II, a product intended for ordinary consumers. Jobs initially asked Alcorn and Nolan Bushnell, Atari's co-founder, to invest. Both declined and instead referred Jobs to Don Valentine, one of Atari's earliest backers. Valentine also declined. But Valentine did put Jobs in touch with Mike Markkula, a wealthy 34 year old former engineer and marketing executive who had recently retired from Intel. Markkula was unimpressed by the Apple I, but when he saw the Apple II, and particularly the color graphics display, his view of Jobs and Wozniak changed dramatically: "Small computers like Wozniak's typically could do one thing: display green capital letters on a black background. But here were multiple colors. Graphics. Sound. Games.Markkula found it hard to believe he was seeing these in a computer in some guy's Los Altos garage. Such advanced features were the stuff of machines costing tens of thousands of dollars, built by teams of engineers at some of the world's most famous companies." (Berlin, 209). Shortly after seeing Wozniak's revolutionary Apple II in Jobs' garage, Markkula joined the two Steves as Apple's third co-founder and first source of significant financial backing. Markkula's initial business plan for Apple projected rapid growth building up to annual sales of $500M within Apple's first ten years. The Apple II far surpassed that figure, largely on the strength of Wozniak's revolutionary graphical display, which was achieved in part thanks to Al Alcorn and this oscilloscope. ------------- Tektronix 465 Dual-Trace 100 MHz Oscilloscope. Signed on the bottom in black felt tip, "Used to design Pong and lent to Woz to design Apple II, Al Alcorn."With original instruction manual.With a signed letter of provenance from Al Alcorn. In excellent condition with original filters, attachments, and instruction manual. References: Berlin, Leslie. Troublemakers: Silicon Valley's Coming of Age. Simon & Schuster, 2017. Isaacson, Walter. Steve Jobs. Simon & Schuster, 2011. Cass, Stephen. "Al Alcorn, Creator of Pong, Explains How Early Home Computers Owe Their Color Graphics to This One Cheap, Sleazy Trick." IEEE Spectrum, April 2020. Alcorn, Al. Letter of Provenance. Undated. Included herewith. Wikipedia contributors. "Composite artifact colors."Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 12 Mar. 2023. Web. 14 Apr. 2023.

First edition of von Neumann and Morgenstern's landmark work. Octavo, original cloth. Boldly signed by John von Neumann on the title page. Near fine in a very good dust jacket. With the original â Corrigendaâ slip laid in. Housed in a custom half morocco clamshell box made by the Harcourt Bindery. Books signed by von Neumann are exceptionally rare. â One of the major scientific contributions of the 20th centuryâ (Goldstine & Wigner). John von Neumann and Oskar Morgenstern conceived a groundbreaking mathematical theory of economic and social organization, based on a theory of games of strategy. Not only would this revolutionize economics, but the entirely new field of scientific inquiry it yielded--game theory--has since been widely used to analyze a host of real-world phenomena from arms races to optimal policy choices of presidential candidates, from vaccination policy to major league baseball salary negotiations. â Had it merely called to our attention the existence and exact nature of certain fundamental gaps in economic theory, the Theory of Games and Economic Behaviorâ ¦ would have been a book of outstanding importance. But it does more than that. It is essentially constructive: where existing theory is considered to be inadequate, the authors put in its place a highly novel analytical apparatus designed to cope with the problem. It would be doing the authors an injustice to say that theirs is a contribution to economics only. The scope of the book is much broader. The techniques applied by the authors in tackling economic problems are of sufficient generality to be valid in political science, sociology, or even military strategy. The applicability to games proper (chess and poker) is obvious from the title. Moreover, the book is of considerable interest from a purely mathematical point of viewâ ¦ The appearance of a book of the caliber of the Theory of Games is indeed a rare eventâ (World of Mathematics II:1267-84). However, "it would be doing the authors an injustice to say that theirs is a contribution to economics only. The scope of the book is much broader. The techniques applied by the authors in tackling economic problems are of sufficient generality to be valid in political science, sociology, or even military strategy. The applicability to games proper (chess and poker) is obvious from the title. Moreover, the book is of considerable interest from a purely mathematical point of view." (Hurwicz in World of Mathematics, vol 2). In the words of two Nobel Prize-winning economists, "a landmark in the history of ideas" and a seminal work in mathematics and economics, which "has had a profound impact on statistics" (Dorfman, Samuelson & Solow, Linear Programming and Economic Analysis pp 417, 445).

"DARWIN, Charles. Autograph letter signed. WITH: On the Origin of Species by Means of Natural Selection, or The Preservation of Favored Races in the Struggle for Life. Kent, United Kingdom, November 24, [1869] and New York: D. Appleton, 1870. Single sheet of unlined paper, measuring 5 by 8 inches folded; pp. 4. Housed in a custom cloth portfolio. WITH: Octavo, original purple cloth. Housed together in a custom clamshell box. $125,000.Very rare and desirable signed autograph letter from Charles Darwin to American publisher D. Appleton's London agent, Charles Layton, agreeing to a second American edition of the Origin of Species, with a slightly raised price, but requiring that Appleton also commit to an American edition of The Descent of Man. Accompanied by the second American edition of Origin of Species in original cloth.The letter, written entirely in Darwin's hand and dated "Nov. 24th. Beckenham [Kent]," reads in full: "Dear Sir, I am much obliged by your note. You say that Messrs. Appleton 'would also like to have a set of stereotyped plates of new edit of Origin of Species on same terms.' I am not sure that I understand this, for I have not permitted the Origin to be stereotyped in England. If it means that Messrs. Appleton will print a new edition in Stereotype Plates (or in common type which would be much preferable) I gladly agree to his terms for this edition & for my next book. I have long earnestly wished for a new edition of the Origin in the United States, as it is 92 pages longer than the 2nd edition, besides endless small though important corrections. I feel sure that the continued large sale of this book in England Germany & France has depended on my keeping up each edition to the existing standard of science. I hope I am right in supposing that Messrs. Appleton are willing to print in some form a new edition; for though unwilling to act in a disobliging manner toward them I had resolved soon to write to Professor Asa Gray to ask him to find some publisher who would print the new edition of the Origin, on condition of my supplying him with the sheets of my new book as they printed & which book will probably have a large sale. Will you be so kind as to let me hear soon how the case stands; & I should like in case the answer is favourable to send in M.S. half a dozen small corrections for the Origin. I must inform you that although Mr Murray has inserted a notice of my new book, I do not suppose it will be printed for nearly a year, although a considerable portion is ready for the press. Dear Sir, yours faithfully, Ch. Darwin. You will understand that I cannot agree with Mr Appleton about my new book, unless he is willing to print a new edit of Origin. The price of the latter might fairly be raised a little; as Mr Murray has by 1s. & it shd be advertised as largely added to & corrected."According to the Darwin Correspondent Project at Cambridge, the recipient of this letter was Charles Layton, the American publisher D. Appleton's London agent. This letter refers to details regarding the publication of a new American edition of the Origin of Species. Darwin begins by clarifying that fact, as the proposal was for a stereotyped American edition as Darwin had been resistant to stereotyping his work in England. Darwin may have seen the first U.S. edition, published in 1860 from stereotypes of the British second edition, and was aware of the decline in quality compared to conventional typesetting. In England, Darwin still wanted the best printing possible, while the overseas printing was of slightly less concern. In letter dated April 1869, Darwin had, in fact, approached Orange, Judd, & Co., who published the American version of Variation, about publishing a new American edition of the Origin. Here, however, Darwin only mentions potential correspondence with Asa Gray, a Harvard botanist with whom Darwin exchanged hundreds of letters. Darwin's fame in America largely rested on Gray's positive review of Origin in The Atlantic and his subsequent pro-evolution debates with zoologist Louis Agassiz, which Gray won handily. Darwin's decision to mention Gray here was likely meant to emphasize Darwin's influence in the American scientific community and to underline the scientific prominence of Darwin's American supporters. This letter indicates Darwin's willingness to go along with Appleton publication proposal despite that inquiry, for both this work and for his upcoming book, The Descent of Man. The Murray notice that Darwin refers to was an advance advertisement for Descent published in October of 1869. Descent, delayed as Darwin indicates, was not actually published until early in 1871. Appleton managed to publish the second U.S. edition, based on a corrected and expanded version of the fifth English edition, by 1870, before their publication of Descent in 1871. Darwin kept a proprietorial hand on all of his work: other editions were also receiving tweaks at the same time he was considering the Appleton proposal. For instance, Darwin mentions sending several corrections to the fifth English edition of Origin to improve its upcoming publication in French and German.This letter is accompanied by the second American edition of On the Origin of Species, the subject of the letter. "This, the most important single work in science, brought man to his true place in nature" (Heralds of Science 199). Darwin "was intent upon carrying Lyell's demonstration of the uniformity of natural causes over into the organic world In accomplishing this Darwin not only drew an entirely new picture of the workings of organic nature; he revolutionized our methods of thinking and our outlook on the natural order of things. The recognition that constant change is the order of the universe had been finally established and a vast step forward in the uniformity of nature had been taken" (PMM 344). Excerpts of this letter were published in Darwin's Correspondence, Volume 17. The book is labeled "Fifth Edition, With. Signed.

The Only Known Mathematical Manuscript of Alfred North Whitehead [Whitehead, Alfred North]. Mathmatical Manuscript Notebooks. Whitehead (1861-1947) Writing in manuscript. [Unsigned and undated, circa: 1900]. Two composition notebooks. Quarto (202 x 160 mm). 50 ff each, written primarily on rectos in black ink, with a few notes on versos, each page with approx. 15-20 lines of manuscript. Ruled paper self-wrappers, first and last leaves toned and worn,some chipping to edges,corners worn, lower right corner of last 2 ff in vol.I missing with some loss to text. Fragile. Two sequential notebooks, divided into three sections as follows: Part 1: 21 pp, on ff 1r-20r of first notebook. In black ink, written on versos. Treating Karl Weierstrass's 1858 "Über ein die homogenen Functionen zweiter Grades betreffen des Theorem." Part 2: 64 pp, on ff 24r-50r of first notebook, and 1r-32r of second notebook. Treating Karl Weierstrass's 1868 "Zu theorie der bilinearen und quadratischen Formen." Part 3: 15 pp, on ff 34r-47r of second notebook. Treating Fredinand Georg Frobenius' proof of Karl Weierstrass' theorem. WITH: WHITEHEAD, J[essie) M[arie). Autograph notebook signed, ("J.M. Whitehead"), 60 pp. Cloth-backed flexible boards. Being class notes for librarian/archivist school, majority written in short-hand. The three housed together in a full calf clamshell. The only knownsurviving mathematical manuscript by Alfred North Whitehead.Manuscript material by Whitehead has never come to public auction, and in fact, any manuscript material by him is of the utmost rarity, with even institutional holdings being very minimal. It is common academic tradition to leave one'sNachlassto a favored graduate student or in a scholarly archive so that it may be available to future scholars. Leibniz, Wittgenstein, Nietzsche, and Gauss are just a few examples of scholars who left behind extensiveNachlässe. Whitehead chose to eschew this long tradition, and upon his death, "His widow destroyed all of his manuscripts, as he had expressly desired." (ODNB) Whitehead had an almost fanatical belief in the individuals' right to privacy, which explains his wishes to have his papers destroyed; he rarely even wrote letters to friends or colleagues. In 2011, a 6-page letter from Whitehead was donated to the Library of Congress from the estate of Whitehead's former assistant. In honor of this most rare item, the Library of Congress held a symposium focusing "on the historical context of the letter and on Whitehead and his intellectual focus in a number of fields. Whitehead seldom corresponded with anyone, and a receipt of a letter by his friends or colleagues was described as 'rare and cause of a communal celebration'. Further, Whitehead's family carried out his instructions and destroyed his papers." ("Experts to Discuss Famed Mathematician and Philosopher Alfred North Whitehead and a Rare Piece of Correspondence at Symposium on Feb. 17," Library of Congress News). In the present manuscript, likely written ca 1900, possibly in early preparation for his magnus opus, Principia Mathematica, Whitehead takes a deep look at several issues in mathematics, primarily in regards to bilinear forms, homogeneous functions, and quadratic forms, as discussed in the work of mathematicians Karl Weierstrass and Ferdinand Georg Frobenius, and citing the work of several other mathematicians, most notably George Salmon. Widely known as the "father of modern analysis" Weierstrass was a German mathematician who was one of the founders of the modern theory of functions. Very interested in the soundness of calculus, he made great contributions to the theories of periodic, elliptic, and Abelian functions, functions of real variables, the calculus of variations, and as in the second work analyzed in the present manuscript, bilinear and quadratic forms. The first section, titled "Weierstrass Monatsberichte der Königl. Akad. zu Berlin. 1858" and subtitled "Über ein die homogenen Functionen zweiter Grades betreffen des Theorem" consists of an analysis and partial translation into English of Weierstrass' 1858 paper on homogenous functions and bilinear forms. Here, Whitehead translates the equations set forth in Weierstrass' paper, showing their proofs, often noting limitations or lack of clarity to the notation,and expanding upon them. Whitehead references the work of several other prominent mathematicians, applying their work to Weierstrass' equations. For example, on f 7, Whitehead applies the theory of determinants set forth in George Salmon's 1876 work Lessons Introductory to the Modern Higher Algebra, to Weierstrass' equations (14)-(17) as follows: "Now from the theory of determinants (of Salm. High. Alg. §33) = si= the product of and an integr[al] function of s. Thus ? (14) Also ? (15) Hence from (14) and (15) is =, where is a linear function of , , . Thus if ++. + ? (16) ? (17)" Whitehead often expands and improves upon Weierstrass' work, notably for proofs 24 & 25, for which Whitehead gives his own lengthy proofs, including a 3 page proof for (24) beginning: "To prove that ?? is a (?-1) fold root of ??(s)=0," and another 3 page proof beginning "Now the roots of (1)=0 are all real: this follows from the proof when the roots are all different. Hence (3)?? is divisible by (s-sµ)l-1. QED." Whitehead also makes alterations or improvements to Weierstrass' notation, such as on ff 42v "Note Weierstrass' notation is slightly altered here" or simply points out problems with the notations, such as on ff 46v "These are the forms of Eq |38| given by Weierstrass; but his notation is not explained very clearly." The second section, titled "Weierstrass. Berliner Berichte 1868. Zu theorie der bilinearen und quadratischen Formen" is the lengthiest. It consists of an analysis and partial translation into English of Weierstrass' 1868 paper on bilinear and quadratic forms.Similar to what he did in the first section, Whitehead here analyzes the equations set forth in Weierstrass.

A superbly evocative memento of the wartime FDR White House, a handsome commercial leather portfolio personalized for Roosevelt's use and containing some 20 leaves of various White House stationery and printed appointment documents all signed by Roosevelt in preparation for use. Such personal artefacts relating to FDR rarely appear on the open market. Roosevelt has made autograph notes on three of the folders: "Robert Ford to come Wed or Thurs" (on cover of "To Sign"); "John F(?) - How handle insurance on production?" (on front of "The President / For Reading"); and "support of me - / tie in inflation - / Cash surrender - 4% compound int. from date armistice / $1,200,000,000" (inside "Miscellaneous Correspondence"). Other documents and stationery are retained within one of the five manila folders, each of which is titled holographically in pencil by a number of unidentifiable hands. Several other previous titles in ink and pencil are present inside the folders. The note "Cash surrender. from date Armistice" probably refers to a law passed by Congress in 1924 that would provide "several million veterans" of the First World War with "insurance policies to be paid off for their cash surrender value in 1945" (Lawson, p. 15). The content of the notes indicate that they were written after the United States had entered the war, in particular the first memo regarding Robert Ford. Ford was very likely the captain of the Pacific Clipper, a Boeing 314, one of Pan Am's early trans-oceanic flying boats, which had been forced unexpectedly to make the first around-the-world flight by a commercial airliner. It was a story that made the headlines in the United States. The Clipper was near the end of a flight from San Francisco to Auckland, New Zealand, when the Japanese attacked Pearl Harbor on December 7, 1941. Ford received word from Pan Am to return to the United States by flying westward, over terrain with which none of the crew was familiar, and on their own in securing both gasoline and supplies. The Pacific Clipper eventually flew 31,500 miles over the course of 209 hours - traversing Australia, India, Arabia, Africa, the South Atlantic, and Brazil - before finally landing on the morning of January 6, 1942, at the Marine terminal at LaGuardia Airport in New York City. "After the US entered the war, four of the 314s were pressed into military service with the US Army Air Forces Air Transport Command as the C-98 and one with the Navy, apparently under the same designation. The militarized 314s were used primarily to ferry personnel on long distance routes all over the world. One was used to carry President Franklin D. Roosevelt to the Casablanca Conference in 1943, and the BOAC 314As were used on several occasions to transport Prime Minister Winston Churchill" (Johnson, pp. 87-8). The annotation "Bob Sherwood" on one of the folders refers to the writer Robert E. Sherwood, an original member of the Algonquin Round Table. His play, Lincoln in Illinois (1939), led to his introduction to Eleanor Roosevelt and, ultimately, FDR, who he went on to serve as "speechwriter and adviser. Sherwood's speechwriting did much to make ghost-writing for public figures a respectable practice. Between service as special assistant to the secretary of war (1940) and to the secretary of the navy (1945), Sherwood served as director of the overseas branch of the Office of War Information (1941 44). From his wartime association with Roosevelt came much of the material for Roosevelt and Hopkins: An Intimate History", which won the 1949 Pulitzer Prize for Biography or Autobiography and a 1949 Bancroft Prize (Encyclopaedia Britannica). E. R. Johnson, American Flying Boats and Amphibious Aircraft; An Illustrated History, 2009; Don Lawson, FDR's New Deal, 1979. Folio (360 x 250 mm). Brown leather portfolio, front cover lettered in gilt bottom right ("Franklin D. Roosevelt President of the United States") with pictorial desk scene stamped in blind top left, interior lined with light brown moiré cloth, inside front cover flap lettered "For Immediate Attention", 4 divisional panels lettered alphabetically along fore edges. Contents comprising: 5 manilla folders, all annotated in pencil ("Miscellaneous Correspondence & Bob Sherwood Sketches", "For the President", "The President / For Reading", "To Sign", "Signed"), the last holding 21 leaves of white or cream paper, varying letterheads, some blank, all but one signed "Franklin D. Roosevelt", two printed proclamations addressed to the Senate. All housed together in a custom brown quarter morocco and cloth slipcase, with matching chemise. Portfolio slightly rubbed, leaves of paper fine, overall in excellent condition.

Folio (56.2 x 44 cm). 34 engraved views by many engravers after various artists, including 12 of the cities in European Russia and 22 of Siberia, on 22 leaves, with captions in Russian and French, printed on Dutch handmade paper watermarked C & I Honig IV, one engraving signed in the plate by N.Ya. Sablin; the first view (Zilantov monastery) cut and pasted at the time of binding on paper watermarked "Whatman 1818", views of Kokshaysk and Astrakhan conjoined. Early 19th-century half calf over marbled boards, gilt rules, spine with raised bands, gilt lettering in second compartments, gilt decorative elements in others; joints restored. Exceptionally rare complete collection of the earliest views of Russian cities on the Volga river and in Siberia, engraved by Russian masters. An excellent example. These views are part of a series that includes a total of 34 prints. The process of their publication spanned almost forty years (from the creation of the first drawings until the prints were issued) and involved seven artists and twelve Russian engravers. The cities were drawn on the spot between 1733 and 1766 during two great expeditions; the originals were later corrected and re-worked between 1748 and 1768, before being printed at the Academy between 1769 and 1771. The views offered here of Mangazey and other Siberian cities are based on drawings made during the Great Northern Expedition (1733 1743), ordered by Empress Anna Ioanovna. Under the leadership of Vitus Bering the expedition was charged with mapping the eastern reaches of Siberia and, if possible, continuing on to the western shores of North America in order to explore and map them as well. The twenty eight views of towns encountered on the way, including Novgorod, Tver, Kazan, Tobolsk and Yakutsk, were drawn by the expedition artists J.C. Berckhan and J.W. Lursenius. Delays in passing the drawings to the Engraving Chamber and disruptions in the engraving process meant the plates were not finished until 1771. The twelve views of cities in the European part of Russia, including Kokshaysk, Sinbirsk, Kuznetsk and Penza, are based on original drawings by Alexander Ivanovich Svechin (end of 1720s 1796). Svechin, a colonel and artist, headed an expedition to the Volga region in 1765, commissioned by Catherine the Great in order to investigate whether Kazan's oak forests would provide a decent timber supply for the construction of Russia's naval fleet. With the help of a camera obscura, Svechin produced twenty-eight drawings during this trip, including fourteen views of cities on the Volga river that Makhaev then had to review on Catherine's orders. The result was twelve amended versions of the cities, in which the artist corrected inaccuracies of perspective and unified the composition. In December 1768 the drawings were finally sent to the Engraving Chamber of the Academy of Sciences. The engraved plates were sold individually and are exceptionally rare. We were able to trace only two copies comprising all 34 views, both in Russia in the collections of the State Hermitage Museum and the State Russian Museum, St. Petersburg. Outside Russia the collection of these views was found only in the Eton library, where the copy, in a modern binding, is lacking one plate. Complete examples are of exceptional rarity, as the engraved plates were sold individually. Absent from all usual Russian bibliographies and great collections. We were able to trace only two copies comprising all 34 views, both in Russia in the collections of the State Hermitage Museum and the State Russian Museum, St. Petersburg. Outside Russia the collection of these views was found only in the Eton College library, where the copy, in a modern binding, is lacking one plate. List of plates: 1. = Vue du Monastere Zilantow dans les Environs de Casan. Image: 19.3 x 26 cm; plate: 21 x 26 cm; sheet: 28.3 x 40.5 cm (Landscape format; pasted on early XIX c. paper); 2. e e - = Vue de Sizran du côté de l'Est prise du chemin sur le bord de la riviere. Image: 30.5 x 42.4 cm; Plate: 33.5 x 43 cm (landscape format); 3. e e - = Vue de la Ville de Sinbirsk au Nord-ouest en entrant. Image: 30.5 x 42.4 cm; Plate: 35 x 43 cm (landscape format); 4. = Vue de la ville de Iakoutzk. = Vue de la ville de Irkoutzk. Each image 14 x 44 cm; plate: 35 x 49.3 cm, (landscape format); 5. i = Vue des fabriques de Newiansk. = Vue de la Ville de Krasnoiarsk. Each image 14.8 x 44 cm; plate: 34.5 x 49.3 cm, (landscape format); 6. = Vue la Ville de Saransk du côté de l'Est en entrant Image: 30.5 x 42 cm; Plate: 34 x 44 cm (landscape format); 7. = Vue de la Ville de Tiumen. = Vue de la Ville de Catherinebourg. Each image 15.5 x 44.5 cm; plate: 36 x 47 cm (landscape format); 8. . = Vue de la Ville de Tschebaksar sur le Volga du cote du Nord. Image: 30.7 x 42.4 cm; Plate: 34.5 x 44 cm (landscape format); 9. = Vue de la Kokchajsk du Cote de Wolga. Image 16.3 x 43 cm; plate 18.5 x 44.5 cm; Image 16.6 x 43.2 cm; plate 19.6 x 45 cm; (Impressions from two plates on two conjoined sheets, landscape format); 10. e e - = Vue de la Ville de Vladimir du côté du Nord-Ouest, prise du chemin de Moscou. Image: 30.5 x 42 cm; plate: 34.3 x 44,5 cm (landscape format); 11. . e - = Vue de la Ville de Pénze sur la Soura du côté du Nord-Est. Image: 30.7 x 42 cm; plate: 34.5 x 44.2 cm (landscape format); 12. = Vue de la Ville de Sviajsk du cote du Midi prise Lors du debordement. Image: 30.7 x 42.8 cm; plate: 12. 33 x 44 cm (landscape format); 13. = Vue de la ville d'Ilimsk. = Vue de la ville de Ieniseisk. Each image 14.6 x 44.8 cm; plate 35 x 49.4 cm (landscape format); 14. = Vue de la Ville de Tobolsk. Image 15.5 x 41.5cm = Vue de la Ville de Pelim. Image 14.2 x 41.2 cm; Plate: 35 x 49.3 cm (landscape format); 15. = Vue de la Ville de Mangasei. = Vue de la Ville de Kousnezk. Each image 16.8 x 32 cm; plate 49 x 35.5 cm (portrait format) ; 16. = Vue de la place fortifiée Oudinsk. = Vue de la Ville de Tourinsk Each image 16.4 x 31.5 cm, p.

Folio (ca. 380 x 547 mm). 3 vols., including atlas. (22), CLI, (3), 279, (1) pp. (8), 339, (1) pp. Atlas has chromolithographed pictorial title, 48 engraved and 41 chromolithographed plates (numbered I-LXXXVI), 5 engraved plans, and 2 folding engraved maps. Contemporary marbled boards; modern spines with giltstamped labels. The rare first edition of this monumental work on the antiquities housed at the Hermitage Museum in St Petersburg, published at the personal expense of Emperor Nicolas I. The Tsar took a deep interest in Russian archaeological finds following the discovery of a Scythian burial mound near Kerch in 1830, and many of these discoveries are featured here. - A large number of the plates are magnificently lithographed in vivid colour after the drawings of Piccard and Solntzev. "Ouvrage imprimé avec une grande luxe. Le texte, en russe et en francais, est précédé d'une préface, signée du nom de M. Gilles, conservateur de l'Ermitage [.] Le nombre des exemplaires tirés n'est, dit-on, que de 200. Leur prix à Paris est de 400 fr." (Brunet). - The Swiss painter and engraver Piccard (1807-88) had studied in Paris and was active in Lausanne until the end of the 1830s. Long in Russia, he would return to Lausanne in 1869. Solntsev (1801-92) had already completed the massive six-volume album series "Antiquities of the Russian State" (1849-1853) and was one of the principal interior decorators of the Kremlin Palace. - Some foxing throughout, mainly concerning the margins and the first and last quires of the text volumes, but to some extent also the margins of the plates. Bindings professionally repaired. Removed from the Library of the Birmingham Assay Office, one of the four assay offices in the United Kingdom, with their inconspicuous library stamp to the flyleaves. Extremely rare: we can trace only one other copy at auction (2013, Sotheby's Paris, sale 1333, lot 532: EUR 59,100 - the duc de Luynes copy). - Brunet I, 321. Graesse I, 149f. Thieme/Becker XXVI, 579. OCLC 82476426.

First edition. DIBNER 88: ONE OF THE EARLIEST BOOKS ON TECHNOLOGY. First edition, the Harrison D. Horblit copy, of the "first systematic treatise on mining and metallurgy and one of the first technological books of modern times" (PMM). "The twelve books of Agricola's treatise . embrace everything connected with Renaissance mining and metallurgical industries, including administration, the duties of companies and workers, prospecting, mechanical engineering, ore processing and the manufacture of glass, sulfur and alum. Book VI provides detailed descriptions of sixteenth-century mining technologies, such as the use of water-power for crushing ore and the improvements in suction pumps and ventilation that became necessary as mine shafts were sunk deeper underground; it also includes an account of the diseases and accidents prevalent among miners, along with the means of preventing them. De re metallica remained the standard textbook on mining and metallurgy for over two hundred years" (Norman). "At a time when most industrial processes were held secret by families, guilds, or towns, Agricola saw fit to publish every practice and improvement that he considered of value, and to use Latin to gain the widest circulation in his homeland and abroad. He had little to draw on from earlier sources that had any practical value" (Dibner 1958, p. 25). Dibner emphasizes the contribution of De re metallica to the theoretical development of geology. "The original contributions of Agricola in his Book III were, firstly, that rocks containing ore were older than the ore they contained; secondly, that the ores were deposited from solutions passing through fissures and voids in the rocks. This step represents an evolving process, and when seen against a background of a Biblical wholly-created world, is quite revolutionary. Hoover considers this a greater contribution in the field of geology than that of almost any single observer since that time. Not only does he consider the deduction revolutionary, but he believes the process by which it was arrived at - actual observation - to be one of the most important steps in laying the foundations of modern science" (Dibner 1958, p. 36). Indeed, Hoover regarded Agricola as the originator of the experimental approach to science, "the first to found any of the natural sciences upon research and observation, as opposed to previous fruitless speculation . Science is the base upon which is reared the civilization of today . let none forget those who laid its foundation stones. One of the greatest of these was Georgius Agricola" (Hoover, p. xv). The 290 fine woodcuts, many full-page, illustrate all aspects of mining, metallurgy, and mining tools and machines. The work includes a reprint of Agricola's De animantibus subterraneis, a treatise on subterranean fauna and cave-dwelling animals first published separately in 1549. De re metallica consists of a preface and twelve chapters, or books. It opens with "a dedication to his patrons, the Dukes Maurice and August of Saxony, and with a four-page eulogy in Latin verse by his life-long friend Georg Fabricius (1516-1571) who kept Agricola's large circle of friends informed of the latter's activities. The poem prophetically ends with 'And in the mouth of nations yet unborn, his praises shall be sung'" (Dibner 1958, p. 124). Agricola then describes the works of ancient and contemporary writers on mining and metallurgy, the chief ancient source being Pliny the Elder. Agricola explains that he has written this work since no other author has described the art of metals completely. Finally, he again directly addresses his audience of German princes, explaining the wealth that can be gained from this art. Book I is concerned with the general theme of miners and mining as a trade, and of the minerals, metals and geological formations forming the background to this activity. Agricola attempts to organize the mineral kingdom into groupings having similar evident qualities: earths, juices (modern solutions or salts), gems, stones, marbles, rocks, metals and compounds; he notes that six different kinds of metals were widely known, namely gold, silver, copper, iron, tin and lead, but adds quicksilver (mercury) and also bismuth. Agricola notes that earlier authors, notably Pliny, had criticized mining on the grounds that metals extracted from the earth were mainly used in war and other evil practices, that it is dangerous for miners, and that it is destructive of the areas in which it is carried out; moreover, that gold and silver are intrinsically worthless. Against these objections, Agricola argues that without metals other activities such as architecture or agriculture are impossible; he dismisses the dangers to miners, noting that most deaths and injuries are caused by carelessness, and other occupations are also hazardous; and he notes that mines tend to be in mountains and gloomy valleys with little economic value, and clearing forests is advantageous as the timber can be used and the cleared land farmed. Metals have been placed underground by God and man is right to extract and use them. In Book II, Agricola begins by tracing the history of mining from its earliest Greek, Roman and other sources. But the major portion of this chapter discusses how to decide where to locate a mine. This could be in one of four situations - a mountain, a hill, a valley, or a plain - the first two are preferable as there is less risk of flooding in the mine. The local climate, access to roads or navigable rivers, and the right of ownership must also be taken into account. A skilled miner can detect the presence of valuable minerals by taste: a salty, nitrous, aluminous, vitrioline or bituminous taste would indicate the presence of salt (which could be mined by evaporation), soda (e.g., sodium carbonate or hydroxide), alum (a hydrated sulphate of aluminium), vitriol (a metallic sulphate) or bitumen (a semi-solid form of petroleum), respectively. Veins of metallic ore mig.

First edition. First edition, first printings of all three books, with first editions of their respective exercise books. Signed by Richard Feynman in ink beneath on preface of Vol. I. Complete in three volumes, perfect bound in original red cloth lettered in white and gilt; exercise books in stapled wraps. Very Good, with light foxing to edges and shelf wear, spine slightly sunned. No writing or marks in text. Spine of Vol. I slightly concave. slight curve to boards of Vol. III. Exercise books are in Near Fine condition overall; Vol. II wraps slightly worn. A stamped envelope and a sheet of notes from the former owner laid in. A rare signed set of the important lectures Feynman gave at the California Institute of Technology, 1961-1963. Feynman received a share of the Nobel Prize in Physics in 1965 for his contributions to the development of quantum electrodynamics. This set belonged to the noted physicist Peter D. Zimmerman, recently purchased at the sale of his estate. Each hardcover volume has Zimmerman's neatly printed name in ink on the front free endpaper, with his dates of purchase in 1964 and 1965. Zimmerman (1941-2021) was an American nuclear physicist, arms control expert, and former Chief Scientist of the Senate Foreign Relations Committee. At his death, he was Emeritus Professor of Science and Security at King's College London. He graduated from Stanford in 1963 with a BS, a Filosofie Licentiat degree at Lund University in 1967 and a Ph.D from Stanford in 1969. An uncommon first printing set of one of the most popular physics texts of all time, a compilation of the Nobel laureate's lectures at Caltech. Scarce signed.

nb. Etat : Fine. First edition. EINSTEIN OFFERS STRONG AND PRESCIENT WORDS OF ENCOURAGEMENT TO THE LEADER OF THE NAACP IN THE FIGHT AGAINST RACIAL SEGREGATION AND DISCRIMINATION IN THE UNITED STATES. Background: Einstein's fight against racial discrimination in the United States: The imperative "to protect the rights of the individual. was Einstein's most fundamental political tenet. Individualism and freedom were necessary for creative art and science to flourish. Personally, politically, and professionally, he was repulsed by any restraints. "That is why he remained outspoken about racial discrimination in America. As a Jew who had grown up in Germany, Einstein was acutely sensitive to such discrimination. 'The more I feel an American, the more this situation pains me,' he wrote in an essay called 'The Negro Question' for the January 1946 issue of Pageant magazine. 'I can escape the feeling of complicity in it only by speaking out.'" (Isaacson, Albert Einstein, 505). Even more directly, in his 1946 commencement speech to Lincoln University, the first degree-granting Historically Black College and University (HBCU) in the United States, Einstein strongly denounced segregation as "an American tradition which is uncritically handed down from one generation to the next" noting that "There is separation of colored people from white people in the United States. That separation is not a disease of colored people. It is a disease of white people. I do not intend to be quiet about it." This remarkable letter - from 1943 -is one of the earliest examples of his interest in condemning racism in the United States. The letter: Dated 22 September 1943 and handwritten on his embossed Mercer Street, Princeton letterhead, Einstein writes in English to Walter F. White, the enormously influential African-American civil rights leader who led the NAACP from 1929-1955, praising him for his work and revealing his own awareness of and frustrations with racism and prejudice in America. â The text reads in full: Dear Mr. White: I have been quite impressed by the address you delivered some years ago at a meeting of the Princeton Branch of the National Association for the Advancement of Colored People. I know how hard it is to awaken the conscience even of good-hearted and well-meaning people when deep rooted prejudices are in the way. It is a great work indeed which you are doing relentlessly for the betterment of the living conditions of our Colored fellow-citizens, for justice and for the accomplishment of national unity of the American people. With sincere respect and kind wishes, Yours, Albert Einstein ------------- On April 28, 1940, White was the keynote speaker at "an inter-racial meeting sponsored by the Princeton branch of the National Association for the Advancement of Colored People" where his topic was "What Happens to Democracy When It Encounters the Color Line." (Princeton Herald, April 26, 1940). At the time, Princeton did not admit African Americans and the community was debating the question of whether or not to end segregation at the university. (Princeton, in fact, did not admit its first African-American student until the fall of 1947). Einstein -writing in 1943 -notes that he heard White speak "some years ago". Something clearly must have deeply impressed Einstein about White's speech for him to write this thoughtful letter to White over three years after the event. Note: In addition to its content, this apparently unpublished letter is also remarkable for being one of the very few letters Einstein hand-wrote in English during this period, as German was still very much his preferred tongue. Princeton: September 22, 1943. One page on Einstein's embossed Mercer Street, Princeton letterhead (7.25x10 in visible), handsomely matted and framed with a photograph of Einstein. Fine condition.