Astronomy & Cosmology

First edition and a beautiful copy of this early NASA publication on satellites and their applications, written for high school aged students.

The contents include sections on weather and climate monitoring, global mapping and photography, geodesy, communications, and navigation, discussing contemporary achievements as well as possibilities for the future. As Leonard Jaffe, director of NASA’s Space Applications Program, writes in the introduction, “One of the major avenues of intellectual and program effort that has guided us at NASA has been the concept, at first unproved but now clearly valid, that space systems can provide unique, direct benefits to man, benefits not before possible or economically feasible... Communications, navigation, geodetic, and meteorological space systems are operational today, and their existence, once the subject of science fiction, is now a practical fact. It is clear that many potential applications exist: the one most clearly on the horizon is the possibility of surveying the Earth’s resources from space. We are really just beginning to develop the possibilities in this area of research, but we can clearly foresee that during the next decade NASA can... provide tools which may significantly affect the efficiency and thus the quality of our life here on Earth”.

Author William Corliss (1926-2011), a physicist and writer interested in anomalous phenomena such as unusual weather, geophysical oddities, and optical illusions, described by Arthur C. Clark as “ [Charles] Fort's latter-day - and much more scientific - successor” (Clark, Astounding Days, p. 110).

Due to this archive's size and weight, additional shipping costs will apply. Please contact us for details.

An incredible archive documenting the work of NASA’s Jet Propulsion Laboratory between 1965 and 1984, the golden age of uncrewed space exploration, compiled by female control room mission specialist Mary Catherine Grady Beight (1917-2012). The heart of the archive are the 148 photographs taken during the Apollo, Mariner, Pioneer, Viking, Voyager, and Galileo missions, some of which were only released in-house, rather than as public relations packets. There are also congratulatory printed letters to staff from JPL directors, staff newsletters, certificates of achievement, and a small number of souvenirs.

NASA’s Jet propulsion Laboratory was founded in the 1930s as a Caltech student club for amateur rocketry. During the Second World War it was sponsored by the US Army and became a fully-fledged research centre focusing on rocketry. Within three months of Sputnik’s launch in October 1957, JPL had built the United States’ first satellite, Explorer 1, and in 1958 the organisation was transferred to the control of the new civilian space agency, the National Aeronautics and Space Administration, while remaining under the management of Caltech. “The Laboratory began to turn its attention from the rockets themselves to the payloads they would carry. Developing these payloads - scientific spacecraft - would become the new focus and place JPL at the center of the Space Race with the Soviet Union... Thus commenced a long series of "first ever" accomplishments by JPL that helped define history's first five decades of space exploration” (JPL website “History & Archives” page).

Women were key employees of JPL from the very beginning of its life as a government research centre. The first was Barbara Canright, hired in 1939 as a mathematical computer to work on the first federal grant project, the development of a rocket plane. More female computers, and eventually engineers and mission specialists, quickly followed (see Holt, Rise of the Rocket Girls, 2016). The compiler of this archive, Mary Catherine Beight, was born in 1917 and attended the LA Business College. Though it is unclear what her previous career was, she joined JPL at age 47 in 1964, and worked as a control room mission specialist for the Deep Space Network before retiring in the mid-1980s. Founded in 1958, the DSN is a world-wide array of communications facilities that support NASA’s interplanetary missions by monitoring and communicating with uncrewed spacecraft. Beight’s role on this team meant her involvement with almost every major mission undertaken during her two decades with JPL, and this probably accounts for the great breadth of her archive.

The archive begins with Apollo missions 5, 8, 10, 11, 14, 15, and 17. Apollo 8 was the first manned mission to orbit the Moon, and included here are photographs of its launch (the first using a Saturn V rocket); the Western hemisphere as seen from the capsule on December 21st; and the full Moon and images of the lunar surface, including the far side. Apollo 10, the “dress rehearsal” for the Moon landing is represented with a photo of the Lunar Module in its practice descent orbit, and the Apollo 11 vehicle is depicted on the launch pad in the early morning. Four photos depict lift-off of Apollo 14 and the equipment and activity on the Lunar surface during Apollo 14, 15, and 17. Additionally, there are photographs of some of the astronauts and the mission patches, a booklet on Apollo 8, and two NASA fact sheets for schools about “Weightlessness” and “Telemetry”. The Deep Space Network was not the primary means of communication for the Apollo missions, but did contribute and served as the primary backup for the main network.

The next major missions represented are Mariner VI and VII, the first dual mission to Mars, in which the two probes studied the surface and atmosphere. Beight has kept a printed booklet of photos, daily status bulletins, and two silver gelatine prints showing the surface of the planet, with dittoed text on the backs. Beight was probably involved with Mariner VI and VII, and it’s clear that she was directly involved with Mariner VIII in 1971, as she has received two photocopied letters from mission manager Dan Schneiderman, one congratulating the team on a “highly successful Mars Orbit Insertion and Orbit Trim Maneuver” (in other words, positioning the satellite in the correct orbit), the second explaining that after the end of a global dust storm the satellite is beginning its mapping and “during the remainder of our mission, lithos of the most noteworth pictures will be forwarded to you on a periodic basis”. These are presumably the 27 photographic prints depicting the surface of the planet included here. There are also three photographs, a silver gelatine print of the control room with dittoed text on the back, and two colour photos of the launch without text, daily status updates, a DSN newsletter discussing the Mars antenna, and some booklets and colour illustrations produced for the public.

In 1972 the first probe to Jupiter, Pioneer 10, was launched, and the archive contains a colour photo titled “Historic photograph taken from NASA’s Pioneer 10 spacecraft, showing the red Spot and Cloud Structure of Jupiter, plus the shadow of its Moon Io”, taken on December 1st, 1973. Two photos are included depicting Jupiter as seen from Pioneer 11, including a close-up of the Red Spot. All three of these images seem to have been produced for internal consumption, particularly the final two, which included technical data in the print.

Next Viking I and II, launched in 1975, became the first probes to land on Mars. This is another program that Beight was clearly involved with, as she has received three certificates of achievement, a congratulatory printed letter from manager Henry W. Norris, ”In spite of the challenges, you have performed in an exemplary manner and two beautiful Viking Orbiters are on their way to Mars, flying with very few concerns”, as well as one from the heads of the Mission Control and Computer Center, in which they extend their appreciation for “your efforts in making the Data Systems Division 91 contributions to the Viking Project such as success”. Included with these letters are 17 colour and black and white photographic prints of the Martian surface, including the “first panoramic view by Viking 1 from the surface of Mars”, dated July 20, 1976. Together with two status bulletins, a photocopied Christmas message from Bruce Murray, a commemorative statement by the Viking scientists, mission stickers, and a published booklet of technical information about Viking. Most interestingly, there is a small black and white Polaroid snapshot of the control room, probably taken with a personal camera.

The Voyager I and II probes were launched in 1977 to explore the outer solar system, in particular Jupiter, Saturn, Uranus and Neptune, and then continue into interstellar space. Both are still operational, with Voyager I having travelled further than any other manmade object. Beight received two congratulatory letters for her participation with Voyager, and her archive includes 61 colour and black and white prints from photographs of this mission, including the Titan rockets and a capsule before launch, one of the probes in the laboratory before encapsulation, the Golden record and a copy of the signature plates, and beautiful colour images taken by the probes, including shots of Jupiter, its Great Red Spot, and its ring and planets, including an enormous out-gassing from Io, and Saturn and its rings and planets. There are also four published booklets on Voyager.

Finally, there is material, including photographs, connected with the Infrared Astronomical Satellite, the first space telescope to perform a survey of the entire night sky at infrared wavelengths; SEASAT, the first satellite designed to monitor the Earth’s oceans, the Deep Space Network itself (a colour photograph depicting all four antennas), several copies of “Lab-Oratory” and other JPL staff newsletters, a metal plaque commemorating PlanetFest ‘81, and five original JPL mailing envelopes, many with Beight’s name.

A lovely, late-18th century almandine garnet brooch celebrating the 1759 passage of Halley’s Comet.

During 1680 astronomer Edmund Halley travelled through France and Italy. While in Paris he observed the appearance of the comet that would come to bear his name. “In Rome he would have met astronomers who had observed the comet in November 1680; they were of the circle of Queen Kristina of Sweden, and he may have met the queen herself, for she had observed an earlier comet with Cassini and had offered a prize for a calculation of the orbit of the comet of 1680. Halley discussed many astronomical subjects in the course of his tour; it is likely that comets were a principal topic, for their orbits were of great contemporary interest. Shortly after his return to England early in 1682, Halley met Newton, probably for the first time, and gave him an account of observations of the comet. Newton later discussed its orbit in considerable detail in book 3 of the Principia” (ODNB).

Halley’s breakthrough was noting the similarities between the comet he witnessed and those that had appeared in 1531 and 1607, and predicting its return in 1758/59. The comet’s much-anticipated reappearance was a popular sensation, and brooches such as this one were fashionable accessories in the years following. The British Museum holds a similar brooch (1978,1002.718).

Gere et al 1984 114.

First edition of de Mairan’s significant treatise on the aurora borealis, including both a scientific analysis of the aurora he viewed in the vicinity of Paris and an extensive historical account of all recorded appearances of the lights.

Jean Jacques D'otous de Mairan (1678-1771) was a fellow and administrator of the Académie Royale des Sciences, as well as a member of the Royal Society. He did research in a number fields, primarily geophysics, and is considered the founder of the field of chronobiology, or the study of circadian rhythms.

First edition and a beautiful copy of this book celebrating the Space Shuttle’s scientific mission and laboratory capabilities, copiously illustrated in full colour. Among the topics covered in this technically advanced volume are studying the human body in space; materials and chemical processes in microgravity; observing the Sun; plasma physics in space; atmospheric science and Earth observations; and astronomy and astrophysics.

First edition and an excellent copy of this book of space-related mathematics for high school teachers.

This volume was published as part of NASA’s drive to incorporate space science into American curriculums during the Space Race. As Michael J. Vaccaro, chairman of the Committee on Space Science Oriented Mathematics, writes in the introduction, “Surrounded by a changing world, the teacher of today must relate new knowledge and new experiences to his students. However, there is a gap between teacher needs and available textbook material. This problem is particularly acute in the areas affected by our efforts in the scientific exploration of space due to the exponential growth of scientific and technical information. Until the results of this research can be incorporated into textbooks for classroom use, supplemental material must provide a partial solution to meeting these needs.” The contents begin with lesson plans on the Ptolemaic and Copernican systems, the solar system, and observing the stars and planets, and go on to cover basic rocketry, gravity and motion, navigation, and studying the weather from space.

A rare and historically significant mezzotint depicting the great meteor seen over Britain on August 18th, 1783, “one of the most riveting astronomical events of the eighteenth century” (Olson & Pasachoff, Fire in the Sky: Comets and Meteors, the Decisive Centuries in British Art and Science, pp. 63-78). We can locate only three institutional copies, at the British Library, the British Museum, and the Wellcome Collection, and no other copies in recent auction records. This copy has been closely trimmed, removing the final line of the text but leaving intact the small cardinal directions at the top, left, and right.

The great meteor of 1783 was visible for over a thousand miles over northwestern Europe. It “ranks among the brightest and most spectacular of such objects ever recorded” and was responsible for some of the “first detailed and generally accurate representations of such a phenomenon” (Beech, “The Great Meteor of 18th August 1783” in the Journal of the British Astronomical Association, vol. 99, no. 3, pp. 130-134). Witnesses reported that the meteor lit up the whole sky, with a letter in the Evening Chronicle recounting that its “lustre almost equalled the sun”. The natural philosopher Tiberious Cavallo viewed the meteor with a group of friends from the terrace at Windsor Castle, later writing that “every object appeared very distinct; the whole face of the country being instantly illuminated” (Payne, “Meteors and Perceptions of Environmental Change in the Annus Mirabilis AD 1783-4”, Northwest Geography, vol. 11, no. 1, 2011).

The man responsible for this print, Henry Robinson, was one of only two artists to make a serious attempt at capturing the meteor’s appearance, the other being Paul Sandby, a draughtsman and the brother of one of Cavallo’s companions at Windsor, who produced a series of still-famous engravings of the event (Beech). Little is known about Robinson save what is included in the print, that he was a schoolmaster who viewed the phenomenon from Winthorpe near Newark-upon-Trent. Though noting that the meteor at first appeared “as one Ball of Fire”, Robinson depicted it in the later stage when it had broken into a number of pieces. “The ‘wiggly’ shape of their tails suggest that they flickered, this being in contrast to the straight tails (and short-lived trains) left by the lesser shooting stars” (Beech). Robinson also effectively used chiaroscuro to represent the meteor’s brightness, highlighting the clouds, sides of buildings, and front of the shocked figure viewing the event (perhaps a self-portrait?) “Robinson’s etching is both pleasing and dramatic, and gives a clear idea of how spectacular this meteor must have appeared when seen from the quiet of rural England” (Beech).

Most significantly, Robinson’s print was immediately recognised as an important contribution to the scientific and historical record. More than eighty years later it was still being cited in scientific discussions of the nature of meteors, with S. A. Herschel comparing Robinson and Sandby’s illustrations to one depicting a fireball over Athens in 1863.

First edition, in the original wrappers, of Rubin’s key paper presenting the first observational evidence for the existence of dark matter. This copy with the ownership signature “Tammann” on the upper cover, likely the Swiss astronomer Gustav Andreas Tammann, director of the Astronomical Institute of the University of Basel and recipient of the Albert Einstein Medal.

Vera Rubin was the daughter of an engineer who fostered her love of science, particularly astronomy. She became the only astronomy graduate at Vasser in 1948 and, after discovering that her first choice of Princeton did not accept female graduate students, earned her Master’s at Cornell and doctorate at Georgetown.

Rubin was particularly interested in the rotation of galaxies, which she had researched under the pioneering female astronomer Margaret Burbidge in 1963. At the time galactic rotation had not properly been measured, but it was expected that the same law of motion that governs the movement of bodies in the solar system would apply to the stars in galaxies. As Newton had shown, the speed of rotation of the stars should drop in proportion to the square root of their distance from the centre. But when Rubin and her collaborator Kent Ford measured star speeds in the Andromeda Galaxy they discovered, to their surprise, that the stars at the edges of the galaxy rotated at the same speed, or slightly faster than, those closer to the centre. This violated the laws of both Newton and Einstein, and implied that the galaxies should have been fraying at the edges as stars were hurled into the void.

The only explanation for this result was that some additional mass was holding the galaxies together. The concept of dark matter had first been proposed by astronomers Fritz Zwicky and Jan Oort in the 1930s, but was largely ignored. And because no one had predicted its effects on galaxies, Rubin didn’t initially recognise its relevance to their situation. But as she explained in an interview with psychologist and author Mihaly Csikszentmihalyi, “Months were taken up in trying to understand what I was looking at… One day I just decided that I had to understand what this complexity was that I was looking at and I made sketches on a piece of paper and suddenly I understood it all. I have no other way of describing it. It was exquisitely clear. I don’t know why I hadn’t done this two years earlier.” What Rubin realised was that if the outer edges of the galaxy contained a halo of dark matter, the additional mass would hold these stars in place.

Within a few years, other astronomers had constructed a theoretical framework for our understanding of dark matter, and we now have multiple ways to observe its effects on galaxies. The discovery of this mysterious form of matter has had a profound impact on our understanding of everything from the movement of stars to the very life and death of the universe itself. As astronomer Emily Levasque of the University of Washington at Seattle put it, “The existence of dark matter has utterly revolutionized our concept of the universe and our entire field; the ongoing effort to understand the role of dark matter has basically spawned entire subfields within astrophysics and particle physics at this point”

Rubin received numerous honours for her work - she was awarded the National Medal of Science in 1993 and became only the second woman after Caroline Herschel to receive the Gold Medal of the Royal Astronomical Society. Rubin was long considered a front-runner for the Nobel Prize, and many believe that the Committee’s failure to recognise her before her death in 2016 will be a permanent stain on the organisation’s credibility.

First edition, first impression. A very attractive copy of this key work on stellar parallax which formed the basis for the Hertzsprung-Russell diagram, one of the most important graphs in stellar astrophysics, and which laid the groundwork for the modern method of determining stars’ magnitude and understanding their life cycles.

Henry Norris Russell (1877-1957), who worked at both Princeton and Cambridge, was described by astrophysicist F. J. M. Stratton as, "the most eminent and versatile theoretical astrophysicist in the United States if not in the world"."Russell pioneered in the use of atomic physics for the analysis of the stars and thus played a principal part in laying the foundations of present-day astrophysics. He analyzed the physical conditions and chemical compositions of stellar atmospheres and evaluated the relative abundance of the elements. His assertion of the overwhelming abundance of hydrogen was accepted, after prolonged controversy, as one of the basic facts of cosmology" (Princeton University biography).

A rare and evocative lithograph of the Great Comet of 1843 as seen from the Cape of Good Hope, observed and, most unusually, also lithographed by the Astronomer Royal for Scotland, Charles Piazzi Smyth (1819-1900). Copies of this print are exceptionally scarce, with none recorded in COPAC, WorldCat, or auction records. Given that the paper was never published, it seems unlikely that more than a handful were produced.

Smyth was born to well-connected British parents in Naples, his father being a naval officer and respected amateur astronomer, and his mother the daughter of the British Consul to the kingdom of the Two Sicilies. Smyth’s godfather was the famous Sicilian astronomer Giuseppe Piazzi, from whom he received his middle name. Thanks to his father’s connections, at age sixteen Smyth was made assistant to Thomas Maclear, HM Astronomer at the Royal Observatory, Cape of Good Hope. “He spent ten years in southern Africa working in positional astronomy and in arduous geodetic surveys of the province. Encouraged by John Herschel, he experimented in early photography and in 1843 succeeded in producing the oldest known calotypes of people and scenes in southern Africa” (ODNB).

During Smyth’s time in the Cape a remarkable comet appeared in the skies. “The Great March Comet of 1843 was so bright that it was seen in the daytime sky by many people on every continent”, though its brightest and largest appearance was in the southern hemisphere (Stoyan, Atlas of Great Comets). Its tail, measuring up to 70° (more than 350 million kilometers in length), still holds the record for length, and John Herschel described it in 1849 as “by far the most remarkable comet of the century” (Stoyan).

Smyth was a talented amateur artist who frequently painted and sketched, both in connection with his astronomical work and as an observer of the people and landscapes around him. “The naturalistic representations and watercolours by Chales Piazzi Smyth, who was working at the Cape of Good Hope when the comet appeared, are the most impressive reproductions of this apparition of a comet” (Stoyan). Smyth was particularly interested in printing techniques and their applications to scientific illustration. His first major published work was a paper submitted to the Royal Astronomical Society on this subject, in which he “reviews critically the illustrations in several recent publications and discourses with apparent authority on the processes of engraving, aquatintintg and mezzotinting. He suggests modifications that might be used to yield more subtle effects” (Warner, Charles Pizaai Smyth: Astronomer-Artist, His Cape Years, p. 113).

Smyth’s proficiency with lithography and copperplate engraving allowed him to print the illustrations for his own papers, a practice that was (and indeed, still is) unusual (Warner, p. 113). In 1846 he was appointed Astronomer Royal at Edinburgh, “the hub of the printing and illustration industry... in these circumstances he did not need to acquire a press, but bought or hired stones on which he could draw his pictures and then send the stones to the nearest printer. Piazzi was engaged in lithographing of his sketches ‘The Zodiacal Light as Seen at the Cape of Good Hope’ and ‘The Great Comet of 1843’ —to be used in his published accounts— when [his friend from South Africa, the artist] Charles Bell arrived in 1847”. At first, Piazzi sent his stones to the printer W. Walton, who was probably responsible for this print, but later Bell purchased a press which he and Piazzi shared (Warner, pp. 114-115).

Both The Great Comet and The Zodiacal Light were meant to illustrate Smyth’s unpublished paper “Attempt to apply instrumental measurement to the zodiacal light”, which was completed on March 25th, 1848, received by the Royal Society on the 13th of April, and withdrawn on the 2nd of November. The manuscript and the original painting are still at the Royal Society and have been digitised (references AP/30/18 and AP/30/18/5), and two oil paintings of the comet by Smyth are held at the National Maritime Museum at Greenwich (object ID BHC4148 and BHC4147). This copy of the lithograph is especially intriguing because of the pencilled annotation where Smith’s printed initials should be: “CPS del[iniavit] & lit”, indicating that he made the lithograph himself. Though the writing is dissimilar to Smyth’s formal hand, the likeliest explanation is that it was inserted by himself or someone close to him.

A rare and evocative lithograph of the zodiacal light as seen from the Breede River in South Africa, observed and, most unusually, lithographed by the Astronomer Royal for Scotland, Charles Piazzi Smyth (1819-1900). Smyth’s print was “the first attempt to furnish a realistic depiction of this elusive feature” of the night sky (Warner, Charles Pizaai Smyth: Astronomer-Artist, His Cape Years, p. 101). Copies of this lithograph are exceptionally scarce. We can locate only one, in the Herschel family collection at the National Maritime Museum in Greenwich (object ID PAH6023). Searches of COPAC, WorldCat, and auction records trace no others. Given that the paper they were designed to illustrate was never published, it seems unlikely that more than a handful were ever produced.

Smyth was born to well-connected British parents in Naples, his father being a naval officer and respected amateur astronomer, and his mother the daughter of the British Consul to the kingdom of the Two Sicilies. Smyth’s godfather was the famous Sicilian astronomer Giuseppe Piazzi, from whom he received his middle name. Thanks to his father’s connections, at age sixteen Smyth was made assistant to Thomas Maclear, HM Astronomer at the Royal Observatory, Cape of Good Hope. “He spent ten years in southern Africa working in positional astronomy and in arduous geodetic surveys of the province. Encouraged by John Herschel, he experimented in early photography and in 1843 succeeded in producing the oldest known calotypes of people and scenes in southern Africa” (ODNB). It was during this period that Smyth attempted observations of the zodiacal light. This is the glow, also known as the false dawn, which appears along the ecliptic at twilight and just before sunrise, and is caused by light from the sun reflecting off interplanetary dust.

In addition to photography, Smyth was a talented amateur artist who frequently painted and sketched, both in connection with his astronomical work and as an observer of the people and landscapes around him. His depictions of the Great Comet of 1843 are now considered “the most impressive” illustrations of that apparition (Stoyan, Atlas of Great Comets). Smyth was particularly interested in printing techniques and their applications to scientific illustration. His first major published work was a paper submitted to the Royal Astronomical Society on this subject, in which he “reviews critically the illustrations in several recent publications and discourses with apparent authority on the processes of engraving, aquatintintg and mezzotinting. He suggests modifications that might be used to yield more subtle effects” (Warner, p. 113).

Smyth’s proficiency with lithography and copperplate engraving allowed him to print the illustrations for his own papers, a practice that was (and indeed, still is) unusual (Warner, p. 113). In 1846 he was appointed Astronomer Royal at Edinburgh, “the hub of the printing and illustration industry... in these circumstances he did not need to acquire a press, but bought or hired stones on which he could draw his pictures and then send the stones to the nearest printer. Piazzi was engaged in lithographing of his sketches ‘The Zodiacal Light as Seen at the Cape of Good Hope’ and ‘The Great Comet of 1843’ —to be used in his published accounts— when [his friend from South Africa, the artist] Charles Bell arrived in 1847”. At first, Piazzi sent his stones to the printer W. Walton, who was probably responsible for this print, but later Bell purchased a press which he and Piazzi shared (Warner, pp. 114-115).

Both The Zodiacial Light and Great Comet were meant to illustrate Smyth’s unpublished paper “Attempt to apply instrumental measurement to the zodiacal light”, which was completed on March 25th, 1848, received by the Royal Society on the 13th of April, and withdrawn on the 2nd of November. The manuscript and the original painting are still at the Royal Society and have been digitised (references AP/30/18 and AP/30/18/7). This copy of the lithograph is especially intriguing because of the pencilled annotation next to Smith’s printed initials, “del[iniavit] & lit”, indicating that Smyth made the lithograph himself. Though the writing is dissimilar to Smyth’s formal hand, the likeliest explanation is that it was inserted by himself or someone close to him. This annotation does not appear in the NMM copy.

The zodiacal light continued to be an interest of Smyth’s throughout his career, particularly in the 1870s when he turned his attention to “spectroscopy and the ‘new astronomy’, a term used to denote the area of astronomy later known as astrophysics... One of his aims, successfully carried out, was to discriminate in the sun's spectrum between absorption lines of purely solar origin and those produced in the earth's atmosphere. Among other researches were studies of the spectra of the aurora (observed from Edinburgh), the zodiacal light (observed from Palermo), and the so-called rainband, due to atmospheric water vapour. In the laboratory he concentrated on the spectra of diatomic molecules and, in collaboration with Alexander Stewart Herschel, deciphered the harmonic structure of the green carbon monoxide band” (ODNB).

An archive of correspondence between astronomer Arthur Beer and Nobel Prize winning chemist Harold Urey regarding the latter’s contribution to Vistas in Astronomy.

Beer (1900-1980) was born in Richenberg, Bohemia (later Czechoslovakia), and educated in Austria and Germany. He worked as an astronomer at Breslau University, where he studied binary stars, and at the German Maritime Observatory. He also wrote newspaper columns and was responsible for developing one of the first scientific radio programmes, Aus Natur und Technik. Beer escaped from Germany in 1934, assisted by Einstein, who wrote him a public letter of recommendation, and spent the rest of his life in the UK. He worked at the Cambridge Solar Physics Observatory and at the Kew Observatory, and became a member of the Royal Astronomical Society. Beer’s most significant contribution to science was as the founding editor of Vistas in Astronomy, a “voluminous and thorough survey of present-day astronomy” in two volumes, conceived as a Festschrift celebrating the 70th birthday of astrophysicist Frederick J. M. Stratton, under whom he had served in Cambridge. The resulting volumes were so impressive that it was continued first as an annual book and then a quarterly journal.

American chemist Harold Urey (1893-1981) did key work on atomic and molecular structures, particularly hydrogen isotopes. This led him to the discovery of deuterium, for which he was awarded the Nobel Prize in 1934. During the Second World War he led the Manhattan Project’s branch at Columbia University, where he applied his knowledge of isotope separation techniques to the problem of isolating of pure uranium 235 on an industrial scale. After the war he worked at the Institute for Nuclear Studies at the University of Chicago. In 1958 Urey moved to the University of California, San Diego, where he did groundbreaking work on the origins of life on Earth, conducting a laboratory simulation of the conditions on the early Earth and proving that they were ideal for the production of cellular building blocks such as amino acids.

The correspondence present here consists of five letters from Urey, mainly on practical issues connected with his contribution to Beer’s book. In the first, on September 10th, 1952, he replies to Beer’s request for submissions, apologising for taking so long to reply as “I have not been able to think of a subkect to write about. I am leaving for Europe on the 14th of September and hope to visit Cambridge about October 15th. If it isn’t too late by that time perhaps we can discuss the question then. In the meantime, I will turn this over in my mind and try to think of something that I might contribute to the book.” On January 8th the following year he writes, “At last the paper for the Stratton volume!... I wish it were a better paper. If you do not wish to publish it I shall not be offended at all. There are quite a few notes and I believe references and notes are more easily read if placed at the bottom of the page. But perhaps your rules are all made long ago.” Later that month Urey sends short note to confirm receipt of the document, and in July he asks that the proofs be mailed to him in Stockholm. The final letter, dated by Beer in pencil as postmarked July 31st, 1953, discusses the terms he has chosen for the index (”I have underlined [in the returned proof, not present here] expressions indicating topics for the index... on the margins I have written additional suggestions” and relates that the illustrations had not arrived yet when he left for the states, but that “I believe the figures can be assumed to be all right”.

A dramatic and uncommon mezzotint depicting the spectacular meteor seen in London on February 11th, 1850, by the prominent court artist Matthew Coates Wyatt (1777-1862). One other copy of this print appears in recent auction records, sold at Galerie Bassenge in 2016, and institutional copies are held at the National Maritime Museum at Greenwich, Museum Bojmans in Rotterdam, the Museum of Fine Arts Boston, and the British Museum, which has George Cruikshank’s copy, presented to him by the artist.

“In 1850 a huge meteor appeared over England and was visible in London. It was captured dramatically by Matthew Coates Wyatt over Paddington in a mezzotint that suggests, due to the explosion and sparks of its head, that it was a bolide... Other accounts and representations from various locations were reported in the Illustrated London News... as well as in other periodicals. James Glaisher, the assistant to the Astronomer Royal, published an appeal for additional reports in the same issue, and consequently so many accounts were sent in that Glaisher had them published in the Philosophical Magazine” (Olson & Pasachoff, Fire in the Sky: Comets and Meteors, the Decisive Centuries in British Art and Science, pp. 213-214).

“By good luck, the painter and sculptor Matthew Cotes Wyatt happened to witness the meteor over Paddington; sensing a market, he published this velvety mezzotint of the view two months later... The technique had largely gone out of fashion by 1850, but the rich darks and brilliant lights that it allows were a perfect choice for this dramatic nighttime scene” (Museum of Fine Arts Boston).

Wyatt was the youngest son of the architect James Wyatt and a favourite in the court of George III. “His designs represented a dramatic and full-blooded union of neo-classicism and baroque revival. He was more a theatrical designer than a sculptor in the conventional sense” (ODNB). Wyatt was responsible for a number of significant commissions, including the ceiling of the concert room at Hanover Square; the Nelson monument in the Exchange Flags at Liverpool; Princess Charlotte’s marble cenotaph in St. George’s Chapel at Windsor; the bronze equestrian statue of George III that stands in Pall Mall East; and extensive decorative work at Belvoir Castle, home of the Duke of Rutland.

Illuminated zodiac man from a 16th-century French book of hours printed on vellum, probably from the workshop of Germain and Gillet Hardouin.

During the late 15th and early 16th centuries printers often borrowed stylistically from manuscripts, and used vellum and colourful illuminations to increase the cachet of printed books. In France this trade was dominated by the Hardouin brothers, who were active between 1510 and 1550. Gillet was a printer, and unusually, all the illuminations were overseen in-house by his brother Germain, who was registered with the Guild of Illuminators.

The “Homo anatomicus”, bloodletting man, or zodiac man — a type of diagram that codified the relationship between the microcosm of the human body and the divine macrocosm — had its origin in classical thought and was a feature of European and Middle Eastern books of hours, almanacs, and medical texts throughout the Middle Ages and Renaissance. This example depicts man as a corpse surrounded by text explaining the relationship between the signs of the zodiac, the parts of the body, and the four humours. The temperaments associated with the four humours are depicted in the smaller illuminations. Clockwise for the top left they are: the choleric temperament symbolised by a warrior with lion; the sanguine, with a hawk and monkey; melancholy surrounded by stars; and the phlegmatic with a lamb.