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BOHR, N. (+) J. A. WHEELER (+) J. R. OPPENHEIMER (+) H. SNYDER.

The mechanism of nuclear fission [N. Bohr. & J. A. Wheeler] "On continued gravitational contraction" [J. R. Oppenheimer & H. Snyder]. - [THE FIRST THEORETICAL DESCRIPTION OF A SINGULARITY]

Herman H. J. Lynge & Søn A/S
lyn54015
Lancaster, American Institute of Physics, 1939. Royal8vo. In the original green printed wrappers. In "The Physical Review", Volume 56, Second Series, Number 5, September 1. With cloth back-strip. A quire, affecting both papers, detached but without any loss of paper. A few minor tear throughout, far from affecting text. [Bohr & Wheeler:] Pp. 426-50. [Oppenheimer & Snyder:] Pp. 455-59. [Entire volume: Pp. 387-486].

First printing of two landmark papers, all of seminal importance in history of physics: The intricacies of the fission process, the groundwork for atomic and hydrogen bombs and the forgotten birth of black holes: The first theoretical description of a black hole, the production of a singularity when a sufficiently large neutron star collapses.Oppenheimer and Snyder's "ON CONTINUED GRAVITATIONAL CONTRACTION" constitute the very first theoretical prediction of a singularity when a sufficiently large neutron star collapses. This phenomenon was later to be coined as a black hole. "Had J. Robert Oppenheimer not led the US effort to build the atomic bomb, he might still have been remembered for figuring out how a black hole could form." (American Physical Society). The paper has by several physics historians been described as the forgotten birth of black holes. "Oppenheimer and his graduate student George Volkoff presented the first analysis of the formation of a neutron star in a 1939 Physical Review paper titled, "On Massive Neutron Stars". Oppenheimer wondered what would happen to a very massive neutron star. The Schwartzschild analysis of General Relativity has a theoretical limit, called the "Schwartzschild limit", when the ratio of mass-to-radius of a star is 236,000 times greater than the ratio for our sun. When this limit is exceeded, the Schwartzschild analysis does not yield a solution. Oppenheimer believed that a neutron star could have sufficient mass to exceed this limit. What would happen to it? Oppenheimer and his graduate student Hartland Snyder applied General Relativity theory to a star with sufficient mass and density to exceed the Schwartzschild limit. The Schwartzschild analysis assumed that the size of the star stays constant with time. Oppenheimer and Snyder found that they could achieve a real solution from General Relativity when the Schwartzschild limit is exceeded by assuming that the diameter of the star decreases with time. They presented their analysis in a 1939 Physical Review paper, titled, "On Continual Gravitational Contraction," which concluded with: "When all thermonuclear sources of energy are exhausted, a sufficiently heavy star will collapse. Unless fission due to rotation, the radiation of mass, or the blowing off of mass by radiation, reduce the star's mass to the order of that of the sun, this contraction will continue indefinitely." This analysis concluded that when the Schwartzschild limit is exceeded, the star must collapse indefinitely until it reaches a singularity having an infinite density of matter" (Bjornson, Singularity Predictions of General Relativity, P. 4).The Chandrasekhar / Eddington controvery in the mid 30ies did discuss the fate of neutron stars but the first thoroughly theoretical desciption was first published here. "THE MECHANISM OF NUCLEAR FISSION" is the first fully worked out theory of nuclear fission, which laid the groundwork for atomic and hydrogen bombs."Wheeler's technical mastery of physics is best seen in the classic paper of Bohr and Wheeler. Bohr and Wheeler wrote the paper in Princeton, where Bohr was visiting in the spring of 1939, a few months after the discovery of fission. The paper is a masterpiece of clear thinking and lucid writing. It reveals, at the center of the mystery of fission, a tiny world where everything can be calculated and everything understood. The tiny world is a nucleus of uranium 236, formed when a neutron is freshly captured by a nucleus of uranium 235. The uranium 236 nucleus sits precisely on the border between classical and quantum physics. Seen from the classical point of view, it is a liquid drop composed of a positively charged fluid. The electrostatic force that is trying to split it apart is balanced by the nuclear surface tension that is holding it together. The energy supplied by the captured neutron causes the drop to oscillate in various normal modes that can be calculated classically. Seen from the quantum point of view, the nucleus is a superposition of a variety of quantum states leading to different final outcomes. The final outcome may be a uranium 235 nucleus with a re-emitted neutron, or a uranium 236 nucleus with an emitted gamma-ray, or a pair of fission-fragment nuclei with one or more free neutrons. Bohr and Wheeler calculate the cross-section for fission of uranium 235 by a slow neutron and get the right answer within a factor of two. Their calculation is a marvelous demonstration of the power of classical mechanics and quantum mechanics working together. By studying this process in detail, they show how the complementary views provided by classical and quantum pictures are both essential to the understanding of nature. Without the combined power of classical and quantum concepts, the intricacies of the fission process could never have been understood. Bohr's notion of complementarity is triumphantly vindicated" (John Archibald Wheeler, Proceedings of the American Philosophical Society 154 (2010)).
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Recently Added From Herman H. J. Lynge & Søn A/S

Pigesind. - [PRESENTATION-COPY OF DITLEVSEN'S…
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DITLEVSEN, TOVE.
Herman H. J. Lynge & Søn A/S
lyn62804
København, Rasmus Naver, 1939. Uncut in the original printed wrappers illustrated by Arne Ungermann. With Ditlevsen's presentation inscription to her husband Knud Mogensen to front free end paper: "Tove Ditlevsen / Til min kære Knud / fra din mærkelige Tove, / som holder af dig pa sin egen snørklede måde / 29-11-72 (Pas på den ikke bliver stjålet)" (i.e. English: Tove Ditlevsen / To my dear Knud / from your strange Tove, / who loves you in her own crooked way / 29-11-72 (Be careful it doesn’t get stolen)"). Light wear and a few stains to wrappers. Spine with a bit of loss of paper and upper front hinge split. Internally very nice and clean. 63 pp. The rare first edition, here inscribed by Ditlevsen more than thirty years later to her last companion, Knud Mogensen, of Ditlevsen’s seminal debut publication. Allegedly, she only gave away ten presentation copies of her debut publication, making them of the utmost scarcity. The personal and slightly ironic tone of the inscription reflects the complex relationship between Ditlevsen and Mogensen whom she met through a personal ad after her divorce from Victor Andreasen. In a letter to her publisher’s Ditlevsen wrote: “Jeg kan jo ikke være alene, og nu er han der nu engang. Sød og hjælpsom er han, men sådan virkelig tale med ham, kan jeg ikke.” (Ditlevesen’s collection of letters “Kærlig Hilsen, Tove”, p. 87). (i.e. English: “I cannot be alone and now he is here. He is sweet and helpful, but truly converse with him I cannot.”). The two lived together during the final years of her life, a period marked by both tenderness and turmoil, and which found literary expression in her Letters to Knud Mogensen (10 breve til Knud Mogensen, posthumously published 1978). Ditlevsen’s not so loving “Jeg kan jo ikke være alene, og nu er han der nu engang. Sød og hjælpsom er han, men sådan virkelig tale med ham, kan jeg ikke.” (“I cannot be alone and now he is here. He is sweet and helpful, but truly to converse with him I cannot.”) (Ditlevesen’s collection of letter “Kærlig Hilsen, Tove”, p. 87) “Pigesind” consists in 32 poems that range widely from the broodingly sad, over deeply unhappy to the almost cheerful. They represent the mind of a young girl and what goes on in it, a young girl whose life was to be marked by anxiety, drug addiction, and repeated suicide attempts. Ditlevsen is considered one of the most important and unique voices in twentieth-century Danish literature and many of the themes she touches upon ring a universal bell. Her works are particularly valuable as they dramatize the consequences of locking women into marriage, into the roles of wife and mother. Ditlevsen's writing has had a lasting impact upon Danish literature, and her works continue to be read and studied for their candid and emotional exploration of the human condition. Her life and writing remain highly important subject matters for those interested in Scandinavian literature and the confessional literary tradition. In 2021, The New York Times, The New Yorker, and The Guardian elected Tove Ditlevesen's recently translated "The Copenhagen Trilogy” as book of the year and celebrated Ditlevsen as one of the most important authors in 20th century literature.
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Tre opbyggelige Taler af S. Kierkegaard. - [ONE…
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KIERKEGAARD, SØREN.
Herman H. J. Lynge & Søn A/S
lyn62269
Kjøbenhavn, Philipsen, 1843. 8vo. 62 pp. Original gift-binding of the black glitted paper with single gilt lines to spine and all edges gilt. A bit of wear to extremities with tiny loss of paper to front hinge. Minor loss to upper capital. Top of front board restored and with neat restoration to upper part of spine and lower capital. Occasional light brownspotting.With the book-plate of Karl Madsen to inside of front board. One of two known presentation-copies of the important Three Upbuilding Discourses from 1843, the religious companien to Fear and Trembling from the same year, inscribed by Kierkegaard to Heiberg, on front free end-paper: "Til / Hr. Professor J.L. Heiberg / R af D. / ærbødigst / fra / Forfatteren. (i.e. For / Mr. Professor / J. L. Heiberg / R af D (i.e. Ridder (Knight) of Dannebrog) / most respectfully / from the Author). Kierkagaard's Upbuilding (or Edifying) Discourses were published over the course of two years, in 1843 and 1844. 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Die Leiden des jungen Werthers. Zweynte ächte…
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GOETHE, JOHANN WOLFGANG von.
Herman H. J. Lynge & Søn A/S
lyn62794
Strassburg & Hanau, 1775. 8vo. Two parts both in the original blank boards. A number a previous owner's name in near contemporary hand to verso of front boards. Boards with a few stains and internally with light occassional brownspotting, but overall a good unsophisticated copy. 95 pp.; pp. 97-192. Very scarce early edition (D2a) of Goethe's monumental novel-debut, which immediately became a major success and one of the most influential and popular books of the 18th century. The novel caused Goethe almost overnight fame. The style of writing has influenced an entire generation of writers. No other of Goethe's works has been so widely read by his contemporaries, and no other work in general has been of as great importance to the Sturm und Drang-period; the work also caused the so-called "Lesesucht" (the important and wide-ranging debate in late 18th century on misreading and on dangerous and harmful literature). The impact it had on not only literature, but on almost all aspects of life at the time, was immense and unheard of. Werther might well be the first cult-figure ever; -a true "Werther-Fieber" broke loose, resulting in a distinct Werther-fashion (yellow trousers, yellow waist-coat, blue coat, high turned-down boots, round felt hat and un-powdered hair, as described by Goethe in the novel), Werther-perfume, Werther-cups etc. Numerous people susceptible to influence actually killed themselves in sympathy with the suffering Werther or overwhelmed by the gulf that separates the outer from the inner world suggested in the novel (the first copycat-suicides of the world, -many of the bodies were found with the book in their hands), and the work incited the romantic urge for revolution; the work is also said to have been Napoleon's favourite novel, which he carried with him at all times. Goethe himself was very surprised by the impact of the work, and said about it: "Die Wirkung dieses Büchleins war groß, ja ungeheuer, und vorzüglich deshalb, weil es genau in die rechte Zeit traf." (Dichtung und Wahrheit). This literary masterpiece may be called the first German novel of world literary class, and it not only seems like a modern work of fiction, it is a work which has irreversibly shaped the feeling of life which is specific to modern man. Hagen 89 (D2a).
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Essai sur la Nature du Commerce en général.…
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(CANTILLON, RICHARD).
Herman H. J. Lynge & Søn A/S
lyn62796
A Londres, Chez Fletcher Gyles, dans Holborn, 1755. 12mo (17x10 cm). Bound in a nice, contemporary full mottled calf binding with five raised bands to richly gilt spine. All edges of boards with a single gilt line-decoration. Beautiful marbled edges. Very neat and professional restorations to hinges and upper capital. A single tiny worm-hole to middle of spine and a supeficial, barely noticeable, crack down the middle. Old paper-label to lower compartment of spine. One corner a bit worn. Small ex libris to inside of front board, ex libris stamp to half-title. Contemporary owner's name crossed out at title-page. Internally exceptionally nice and clean. Small worm-hole to inner margin of about 60 leaves towards the end, only just touching the edge of a very few letters, otherwise not affecting lettering at all. (4), 430, (6, -Table des Chapitres) pp. First edition of one of the most important works in the history of economic thought. Cantillon’s work is a pioneering attempt to describe the economy as an interdependent system governed by underlying laws of cause and effect. The author is considered a pioneer of economic theory who anticipated and influenced the likes of Smith, Malthus, Turgot, Quesnay, Mirabeau, etc., etc. and this, his only published work, is considered the first actual work of theoretical economics, an absolutely ground-breaking work which by Jevons was characterized as the "Cradle of Political Economy". Cantillon introduces the concept of the entrepreneur as a central economic agent, provides the first analytical model of the circular flow of income and articulates what later became known as the “Cantillon Effect” - the uneven impact of monetary expansion on prices and wealth distribution. Richard Cantillon (1680-1734), though his name is probably of Spanish descent, was an Irishman, and he spent most of his life in France. He was a man of secrecy, and little is known about his life and work. 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Picasso. Toros y Toreros. - [SIGNED BY PICASSO]
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PICASSO, PABLO (+) LUIS MIGUEL DOMINGUIN.
Herman H. J. Lynge & Søn A/S
lyn62803
(Paris, Editions Cercle D'Art, 1961). Folio (380 x 280 mm). In publisher's original pictoral full cloth binding. Number 76 out of 150. Illustrated with 138 lithographic reproductions in black/white and colour after the artist's drawings in pencil, ink, crayon, brush and washPortfolio (375 x 278 mm). A seperate suite, also numbered 76, with 17 loosely inserted (as issued) litographs, the first being signed in pencil by Picasso.Both housed in publisher's original clam-shell box with title and author embossed to spine. Very light wear to edges of the box, but otherwise a very fine, clean, and well preserved copy. First edition, being one of the 150 numbered copies signed by Picasso, of one of the artist’s greatest books of the post-war period, magnificently printed under Picasso’s supervision and dedicated to his lifelong fascination with bullfighting. Luis Miguel Dominguín, legendary bullfighter whose exploits were described by Hemingway in “The Dangerous Summer”, wote the lengthy introduction. A monumental artist’s book, “Toros y Toreros” stands as both an artistic summary of Picasso’s lifelong fascination with the spectacle of the bullfight and a deeply personal reflection of the people and passions that surrounded him in his final decades. The work is based on Picasso’s sketchbooks from 1959, a period of graphic experimentation at Vallauris, and reflects his deep personal engagement with the bullfighting world and its participants. His old companion Manuel Pallares would visit for long tertulia-style conversations in Catalan, while his wife Jacqueline was more interested in the artist’s publisher, Gustav Gili, and his Andalusian friend, the celebrated bullfighter Luis Miguel Dominguin:“Picasso had always enjoyed having Spanish or Spanish-speaking friends around. Manuel Pallarés, a Catalan who had been a friend since he was fourteen, would come and spend two weeks in a nearby hotel. In true tertulia style the two old cronies would gossip for hours in Catalan about the minutiae of life in turn-of-the-century Barcelona or the high sierra. Jacqueline found all this very tedious. She far preferred the company of the artist’s Catalan publisher, Gustav Gili, or his fellow Andalusian the celebrated bullfighter, Luis Miguel Dominguin. Although Picasso loved to discuss bullfighting with Dominguin, he was taken not so much with his professional prowess - “his real arena is the Place Vendôme.” He told Cocteau: “One thinks he’s not like the others, but he’s exactly the same” - as with his personal allure. Picasso had a short man’s envy of people who were tall, and Dominguin was the inspiration for the slender elegant torero in most of the later bullfight scenes. In his lively text Toros y Toreros, Dominguin likens his relationship with Picasso to the great Pedro Romero’s with Goya. He sees Picasso as a bull and quotes the popular Andalusian poet Rafael Alberti’s paean to him: “You the only matador in Picassian pink and gold - with Pablo Ruiz Picasso as the bull! And me as picador.”” (Richardson, A Life of Picasso, p. 8) “The main involvement [in bullfighting] for Picasso was not so much with the parade and the skill of the participants but with the ancient ceremony of the precarious triumph of man over beast … The man, his obedient ally the horse, and the bull were all victims of an inextricable cycle of life and death.’ (Roland Penrose, Beauty and the Monster, p.170.) The present work unites Picasso’s art with his lifelong fascination for the drama, ritua,l and symbolism of the bullfight, uniting his genius as an artist with one of the most strong passions of his Spanish identity.
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KVIUM, MICHAEL.
Herman H. J. Lynge & Søn A/S
lyn62783
(No place), Nemo, 1987. Large4to (275 x 210 mm). In the original black printed wrappers. Signed "Kvium 1987". Number 77 out of 200. Small mark to lower inner margin of back wrapper, otherwise a very nice and clean copy. (8) pp. + 4 engraving. Rare early signed and numbered exhibition catalogue published on the occasion of Michael Kvium’s exhibition DNA at Galerie Nemo in July 1987, one of the artist’s earliest solo exhibitions in Germany marking the beginning of Kvium’s international recognition. Includes a short biographical note and reproductions of Kvium’s grotesque and surreal imagery characteristic of his 1980s period when he began exploring the human body as a metaphor for moral and existential distortion. Kvium studied at the Royal Danish Academy of Fine Arts in Copenhagen (1979–1985) and is one of the one of the most sought after modern Danish artists.
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