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Selection and Maintenance of Elevator Cables. American Chain and Cable Company, Bridgeport, Ct., 1943. 8"x 5", 64pp. Original (thick) wrappers. Very nicely designed. Provenance: Library of Congress, with their 10mm "LC" perforated stamp on bottom center front wrapper and their rubber stamp surplus on page 3.
Scarce. NO copies located in WorldCat.
$175
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Patterson, George. “Symbolic methods in the design of delay- and cycle-free logical nets.”
Research Center, Burroughs Corporation, Philadelphia (1954). 11”x 8.5”. 9 leaves. Punch-bound for three-hole binder. Stapled. There is some underlining in ink in the first three pages, otherwise this is a very nice copy. $300
“George W. Patterson (IRE J, 1931; Associate, 1949; Senior Member, 1954; and Fellow, 1959) was born in Rochester, New York, on 6 May 1912. He received the B.S.E.E. degree from the University of Vermont in Burlington, in 1934; the M.A. degree in physics from Columbia University in New York City, in 1936; and the Ph.D. degree in mathematics from the University of Pennsylvania, in Philadelphia, in 1958.”
"In 1946, Patterson joined the staff of the Moore School of Electrical Engineering of the University of Pennsylvania, where he designed the logic for EDVAC arithmetic circuits and coordinated the logic design for the entire machine. From 1950 to 1955, Patterson was with the Research Center of the Burroughs Corporation, Paoli, Pennsylvania. Then he rejoined the faculty of the Moore School. In 1962, he was Associate Professor and Section Head for the systems logic research at the Moore School.
"In addition to teaching and directing research on switching theory, Patterson was active in computer standardization, as a member of the Electronic Computers Committee beginning in 1949, and serving as Vice Chairman in 1962. He was also a member of the ACM committee that wrote the first programming glossary, and a member of the ASA Y32-14 task group that developed standards for computer logic systems"--Wikipedia, Engineering and Technology
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Clyde H. Long, Questionnaire on Meteorology for Private, Commercial and Instrument Pilots. Published by the Flying "L" Aero Service, Bailey, Colorado. December 1, 1951. 11"x 8.5", 56 leaves, printed on one side only. Offset printed, and probably a private production. Bound in a store-bough folder with a typed paper title. VG copy. Provenance: Library of Congress, with their rubber stamp on inside front cover. NO COPIES listed in WorldCat. $150
There are 250 multiple choice questions here for study and exam (with answers!) These are NOT trivial questions.
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Ruth Ferris, Steamboat Tales. Saint Louis, Missouri, 1940. Offset, privately printed. 11”x 8.5”, 38 lvs. $250
“Ruth Ferris was one of the nation's best known collectors of steamboat objects and history.” She was the first curator of the Missouri Historical Society's River Room, and her writing “represent(s) a history of St. Louis during the golden age of steamboats”.
It is noted that the work being sold here, “Steamboat Tales”, was never published before being included in “St. Louis and the Mighty Mississippi in the Steamboat Age: The Collected Writings of Ruth Ferris”, published by the St. Louis Mercantile Library in 1993, which is also the source of the preceding quotes. Very good condition, bound in a store-bought manila folder, punch bound. Provenance: Library of Congress, with their 10mm perforated “LC” stamp in the title page, plus their surplus rubber stamp on the rear cover. Also comes with a carbon copy library card of the original LC library card catalog card.
WorldCat locates 0 copies.
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“Interview with Two German Refugees.” A Neighborhood Guild Broadcast from WJJD—1130 kilocycles, Sunday February 26, 1939, conducted by Charles Copeland Smith. Chicago, Illinois.
11”x 8.5”, cover+6 leaves of printed interview. Provenance: U.S. Department of State.
GOOD condition. $150
This is a radio interview conducted by Charles Copeland Smith in 1939 of two German refugees (Mrs. King and a Miss Greta King”) shortly before the fighting war begins later in the year.
Four rubber stamps on the cover (see image); last leaf detached from the stapled binding.
Why did the Kings leave Germany? Because they were Jews. The husband, Dr. King, lost his practice and privilege on April 1933. They outlined what was happening to Jews in general in Germany—the stormtroopers, the loss of life, imprisonment. Reports on some anti-Semitism in the US towards them
By 1935 determined to leave, the end was in sight for the Jews.
The April 1 1933 law that is mentioned I this interview refers to “The “Law for the Restoration of the Professional Civil Service”, the first official banishment of the Jewish people as menials, second-class citizens, banning the Jews from government jobs. The Jews had already been established by the Nazis as being the cause for the loss of WWI, the debacle at Versailles, the ruination of German culture and mortal enemy of the Aryan German. Many hundreds of laws like this would be instituted over the coming few years, establishing the legality of the supposed inferior nature of the Jewish people. (Also in July 1933 came the underpinning legislation of some future nasty thinking, Ernst Rudin’s “Law for the Prevention of Hereditarily Diseased Offspring”, which established health courts and compulsory abortion and sterilization for a variety of physical and hereditary traits found to be unacceptable for the promulgation of a superior German race.) And this is all before the Nuremberg Laws of 1935/1936, (specifically the “Reich Citizenship Law” 1936) which basically established the fate of the Jews, removing their citizenship and making them “subjects of the state”. Do I really need reiterate the case for the Nazi subjugation of the Jews, and their making the social and legal basis for the coming extermination policies which were codified at Wansee in 1942? I think not–though it seems to me that for whatever reason the Smiths decided to not utilize this already well established (even by 1939) information. I think that at the very least they did not want to know.”
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Deglin, Lt. Col T(heodore) .L. (“PRO AFWESPAC”, Public Relations Officer, Armed Fores Western Pacific, Phillippines). Account of a Trip to Japan and to Baguio to Witness Surrender of Imperial Japanese Forces and of Japanese Forces in the Philippines. 1945 5pp. Very good condition. $950
After serving as public relations director for Madison Square Garden (1935-1942), T.L. Deglin became a Lt. Col. in the U.S. Army (and later a full colonel) in a public relations capacity, finding himself a witness on 2 September 1945 to the Japanese surrender on the U.S.S. Missouri. He and his party then leaves immediately for Baguio (in the Philippines) to bear witness and report on the surrender of Japanese forces in the Philippines, including the arrest of the Beast of Manila, General Yamashita. What follows below is his five-page (1750 word) description of those events. The report is an offset-printed production, so it did see some sort of distribution, but I can find no mention of it anywhere.
An example of Deglin's reporting from the desk of the USS Missouri:
Here's an example of Deglin's reporting from Baguio:
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"Headquarter / United States Army Forces Western Pacific / Public Relations Office / General Release - 47, APO 707, 23 September 1945". Single sheet, offset on newspaper print. 13”x 8”, printed front and back. About 700 words. The entire document is reproduced here.
GOOD condition, only. The document was printed on an inferior paper, which has browned and has become brittle along the edges. There is one old old (at bottom) and one short tear (at top side right). Rare. $500
Even though WWII in the Pacific was ended on 15 August 1945 (or at least the surrender was initiated then) and the surrender papers signed aboard the USS Missouri in Tokyo Bay on 2 September 1945 ("VJ Day"), there were many elements of the Japanese Army that took weeks and in some cases months to actually lay down their weapons and submit. (There are some rare cases of individual soldiers lasting for years and decades past the surrender, refusing to give in, living their lives in remote places.)
This document--"Headquarter / United States Army Forces Western Pacific / Public Relations Office / General Release - 47, APO 707, 23 September 1945"--released by the propaganda/public relations office of the U.S. Army Force Western Pacific, details some of the process of large forces of Japanese forces in the Philippines coming in to surrender.
Stating that 31,000 Japanese soldiers (and 17 generals) had already been placed under guard in Luzon's POW camps, the three-paragraph document ends with this interesting statement:
"No date has yet been set when it is expected all the Japanese in the hills will be in our hands."
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The New RCA Victor Photophone Recording System. RCA Victory Company, 1932. Internal RCA Document: 8vo, 45 typed mimeo leaves, with 26 pp of blue-line photographs and schematics of the equipment. Punch-bound at one time, though metallic binding element is not present. Very good condition. $3500 (1/3 to charity)
This a sound-on-film incunable. This means the pamphlet was printed within the first few years of the first "talking" (synchronized sound, or sound technologically coupled to image) motion picture. The first feature length film using sound throughout1 the length of the movie was The Jazz Singer, which was released in 1927 and used a sound-on-disc2 system of recording. That means that the audio portion of the film was recorded onto records, and then synchronized in playback with the film to match up the audio and video--this technology was obviously not the future.
The technology of sound-on-film would take the day, and in very short order, leading to four different systems, of which the Photophone was one. Photophone's share of the prospective studio users was pretty good: the earliest major producers/licensees included Walt Disney Productions (after 1932), RKO Radio Pictures, Republic Pictures, Warner Borthers, and Pathe.
" From the producer's standpoint, variable area film recording has one great advantage that places this system in a class far ahead of all others".
And on the Film Phonograph Reproducing Equipment: " the need for combining two or more sound tracks, the adding of sound effects to an original recording, or matching around levels of scenes in the final editing of a picture has brought re-recording into an increasingly important position in sound picture production".
The work is in general a technical report and sales pitch for the new system. It includes the following sections:
General introduction (1-7, 4 illustrations), the Ribbon Microphone (8-12, 3 illustrations); Microphone Distribution Panel, (13-14pp, 2 illustrations); Microphone Mixing Panel (15-17, 2 illustrations); Compensator Panel (18-21, 2 illustrations); Recording Amplifier (22-25pp, 2 illustrations); Ground Noise reduction Amplifier (28-30, 2 illustrations); 35mm Film Recorder (31-34, 2 illustrations); 16mm Film recorder (page 35, 2 illustrations); Film Phonograph Reproducing Equipment (36-39 pages, 2 illustrations); Phototube Amplifier (40-41pp, 1 illustration); 35mm to 16mm Film Re-recorder, 42-45pp, 2 illustrations).
Notes:
1. Earlier on in the mid-1920's there were efforts of using sound in film but limited to music or very specific areas of the film, most of which in the end was silent.
2. The movie was made with the Vitaphone system, which was not long for this world, soon to be replaced by the more sophisticated sound-on-film systems.
"In 1925 GE started a program to develop commercial sound-on-film equipment based on Hoxie's work. Unlike the Phonofilmand Movietone systems in which the audio modulated the intensity of a recording lamp which exposed the soundtrack, thus creating a variable-density track, the GE system employed a fast-acting mirror galvanometer to create a variable-area soundtrack. A number of demonstrations of this system, now known as Photophone, were given in 1926 and 1927. The first public screenings with this system were of a sound version (music plus sound effects only) of the silent film Wings which was exhibited as a road-show in around a dozen specially equipped theatres during 1927."--Wiki
Continue reading "Early Work on Sound-on-Film Motion Pictures 1932" »
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Theatre Survey Instructions. "Property of RCA PHOTOPHONE, INC. Its use is limited exclusively to authorized employees of RCA PHOTOPHONE, INC., and authorized employees of its associated companies. Very good condition. $3500 (1/3 to charity)
"London Office, May-30-1929"
"Engineering Productions E.1-1."
10,5x8 inches, 6 typed carbon sheets.
"London Office, May-30-1929"
"Engineering Productions E.1-1."
10,5x8 inches, 6 carbon copy typed sheets. Very good condition.
This is a short (but quite rare) document on operating the photophone (1929).
Provenance: Harold E. Sunde, with his initials in pen at top left front cover, and signed by him on final page. Sunde (1910-1990) was responsible for the explanation and demonstration of the RCA "Photophone" invention--one of the earliest simultaneous sound-on-film recorders and projectors, and introduced the machine to England and Russia, where true sound-on-film motion pictures were seen for the first time. He was also JHU APL, Sandia, Radiological Defense at Bureau of Ships, USAF). This document appears just a month or so before the showing of the first successful synchronized sound-on-film picture in England, A. Hitchcock's “Blackmail”. This a sound-on-film incunable. This means the pamphlet was printed within the first few years of the first "talking" (synchronized sound, or sound technologically coupled to image) motion picture. The first feature length film using sound throughout the length of the movie was The Jazz Singer, which was released in 1927 and used a sound-on-disc2 system of recording. That means that the audio portion of the film was recorded onto records, and then synchronized in playback with the film to match up the audio and video--this technology was obviously not the future.
The technology of sound-on-film would take the day, and in very short order, leading to four different systems, of which the Photophone was one. Photophone's share of the prospective studio users was pretty good: the earliest major producers/licensees included Walt Disney Productions (after 1932), RKO Radio Pictures, Republic Pictures, Warner Borthers, and Pathe.
" From the producer's standpoint, variable area film recording has one great advantage that places this system in a class far ahead of all others".
Content: following a general intro to the equipment, which is followed by four section, including the auditorium, the projection room, the power supply, and the power equipment. The auditorium notes interestingly describe what the operator of the photophone should pay attention to in the building, touching on the location of the speaker, but particular attention was made for the architectural properties of the auditorium and how they might affect sound quality. This is followed by the projection room comments, and then the power supply needs and the power equipment itself, the ending item being the “synchronous disk requirements”.
Sunde (1910-1990) was responsible for the explanation and demonstration of the RCA "Photophone" invention--one of the earliest simultaneous sound-on-film recorders and projectors, and introduced the machine to England and Russia, where true sound-on-film motion pictures were seen for the first time.
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RCA Photophone Sound Reproduction from Film.
11”x 8” (the first leaf slightly smaller). Undated—I'd guess that this was around 1930.
Blueprints, printed by (Photophone) “Engineering Department”. 6 leaves, numbered (I)-(VI). Bound at the top with a brass fastener.
Accompanied by a 8”x 5” original photo of the instrument.
Rare. $2500 (1/3 to charity)
No copies in WorldCat.
The publication gets right to business in the opening paragraph in the section titled “RCA Photophone Sound Pickup”: The RCA Photophone Sound pick-up comprises an optical system and photo-electric cell....”
In short this is a short primer on how the machine functions.
Provenance: Harold E. Sunde, with his initials in pen at top left front cover, and signed by him on final page. Sunde (1910-1990) was responsible for the explanation and demonstration of the RCA "Photophone" invention--one of the earliest simultaneous sound-on-film recorders and projectors, and introduced the machine to England and Russia, where true sound-on-film motion pictures were seen for the first time. He was also JHU APL, Sandia, Radiological Defense at Bureau of Ships, USAF). This document appears just a month or so before the showing of the first successful synchronized sound-on-film picture in England, A. Hitchcock's “Blackmail”.
This a sound-on-film incunable. This means the pamphlet was printed within the first few years of the first "talking" (synchronized sound, or sound technologically coupled to image) motion picture. The first feature length film using sound throughout the length of the movie was The Jazz Singer, which was released in 1927 and used a sound-on-disc system of recording. That means that the audio portion of the film was recorded onto records, and then synchronized in playback with the film to match up the audio and video--this technology was obviously not the future.
The technology of sound-on-film would take the day, and in very short order, leading to four different systems, of which the Photophone was one. Photophone's share of the prospective studio users was pretty good: the earliest major producers/licensees included Walt Disney Productions (after 1932), RKO Radio Pictures, Republic Pictures, Warner Borthers, and Pathe
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