ball sidney (18 Ergebnisse)

413 pp.; 25.5 x 19 cm.; sewn bound; black-and-white; edition size unknown; unsigned and unnumbered; offset-printed Anthology of writings by major figures associated with the Dada movement. Edited by Robert Motherwell. Writing by Jean Arp, Hugo Ball, André Breton, Gabrielle Buffet-Picabia, Arthur Cravan, Paul Eluard, Richard Huelsenbeck, Georges Hugnet, Erik Satie, Kurt Schwitters, Tristan Tzara, Jacques Vaché, Hans Richter, Georges Ribemont-Dessaignes, Philippe Soupault, Harriet Janis, Sidney Janis, Albert Gleizes, Raoul Hausmann, and Bernard Karpel. Includes list of illustrations, bibliography, index to bibliography, and a general index. Fine. As New. Covers and contents clean and unmarked. Due to large size and weight additional shipping charges will be required for international orders.

Hardcover. Zustand: Very Good with no dust jacket. First Edition. Unmarked, except USGS stamps. Includes geology foldout map. ; Book Description; Spine has no signs of creasing. Pages are clean and not marred by notes or folds. Covers are square with minor wear. Ships Safe and Fast. Published without Dust Jacket. Rebound original paperback edition, red boards with guild lettering on spine. ; U. S. Geological Survey Bulletin; Vol. 308; B&W Illustrations; 8vo 8" - 9" tall; 218 pages DZ4.

Zustand: Very Good. 1916. disbound. Fabian Tract no. 72, 24pp. . . . . Books ship from the US and Ireland.

Zustand: Very Good. 1908. disbound. Fabian Tract no. 72, 24pp. . . . . Books ship from the US and Ireland.

Pamphlet. Zustand: Good. 23pp. Fabian Tract No.72. Stain on front cover.

Zustand: Very Good. 1916. disbound. Fabian Tract no. 72, 24pp. . . . .

Zustand: Very Good. 1908. disbound. Fabian Tract no. 72, 24pp. . . . .

The Fabian Socialsit Series, No.3. Reprinted from Fabian Tracts, Revised. 102pp. p/b. Generally VG; spotting to edges and some margins; slight rubbing and fading to perimeters.

8° Broschur. ohne Schutzumschlag, geringe Gebrauchsspuren am Einband und Block, Block sauber und fest, Einband berieben, Mängelexemplarstempel am Schnitt 144, 144, 144, 144, 144 Deutsch 800g.

Hardcover. Zustand: gut. Sherlock Holmes Werkausgabe in 9 Bänden Gebundene Ausgabe von Sir Arthur Conan Doyle (Autor), Gisbert Haefs (Herausgeber), Nikolaus Stingl (Herausgeber), Werner Schmitz (Herausgeber), Leslie Giger (Herausgeber), Hans Wolf (Herausgeber), Sidney Paget (Illustrator), George Hutschison (Illustrator), F.H. Townsend (Illustrator), Frank Wiles (Illustrator), A. Gilbert (Illustrator), Howard Elcock (Illustrator), Alec Ball (Illustrator), H.M. Brock (Illustrator), Gilbert Holiday (Illustrator) In deutscher Sprache. pages. Lizenzausgabe in weinrotem Leinen mit weinrotem Buchschnitt und Lesebändchen (1988).

Single Issue Magazine. Zustand: Good. Illustrated by Sharp, William (illustrator). First Edition. 48 pages. Features: Cover photo of Army Nurse at work; Unituq ad inside from cover for American Export Line shows teen girl holding record and caption 'The Japs Were Hard on Jive' - explaining that war meant the shellac needed to make records was hard to import; Fantastic one-page colour photo ad for Rheingold beer features Miss Rheingold 1945, Pat Boyd on a ski hill; We Must Face Europe with Realism; Ad for Fairchild's Packet air cargo aircraft; Photos from the Battle of the Bulge; Plane's-Eye View of the Pacific War - an air voyage reveals what distance means and how brutal is the struggle; Photos of a Pacific beachhead landing; Four Fateful Inauguration Days - The atmosphere of crisis has surrounded Mr. Roosevelt on each historic occasion - article with photos; Backbone of China's Resistance - it is the enduring peasant, who supplies the rice and the soldiers, hates and thwarts the Japanese; Nice one-page color ad by De Beers; Hollywood's latest box office 'name' is Barry Fitzgerald - article with photos; Classy one-page color ad for Benson & Hedges Virginia Rounds cigarettes; Percy Pratt - Poet Laureate of Freeport, Maine's GI's; One page ad for movie 'A Song to Remember' starring Paul Muni and Merle Oberon; Photos and write-up of America's State Department Team - Joseph C. Grew, Edward R. Stettinius Jr., James Clement Dunn, Nelson A. Rockefeller, Archibald MacLeish, Dean Acheson and William L. Clayton; Half-page ad for Admiral fridges features two classy dames; Nice ad for Rameses "the aristocrat of cigarettes"; Soldier Souvenirs - mementos from Germany; Nostalgic one-page color ad for Florida Oranges/Orange Juice; Meals for the Family of One; A Lift from Lighting; Teen-age daughters; Two pages of lovely fashion photos featuring ladies' attire for the outdoor play season; Half-page color ad for Marlboro cigarettes features very fashionably-dressed lady; GIs bring daily news to the Pacific; Nostalgic color ad on back cover for Decca records states they insist their vocalists pronounce every word carefully, and that dance records must be thoroughly danceable - without fancy overtures or interruptions. Unmarked with moderate wear. A quality vintage wartime issue.; Elephant Folio - over 15" - 23" tall; Army Nurse at work; We Must Face Europe with Realism; Ad for Fairchild's Packet air cargo aircraft; Photos from the Battle of the Bulge; Plane's-Eye View of the Pacific War - an air voyage reveals what distance means and how brutal is the struggle; Photos.

Revised First Draft script for the 1967 film. Laid in is a Call Sheet from the production, dated Tuesday, November 29, 1966. Based on John Ball's 1965 novel. An African American police detective from Philadelphia is recruited to help solve a murder in a small, bigoted Mississippi town. Winner of five Academy Awards including Best Picture and Best Actor for Rod Steiger, nominated for two others. After the success of the film version, the characters were developed further for a police procedural television series in 1988, developed by James Lee Barrett, and starring Carroll O'Connor and Howard Rollins, which aired on NBC, then CBS, from 1988 to 1995. Set in the fictional town of Sparta, Mississippi, and shot largely on location in Illinois. Poitier insisted the movie be filmed in the North because of a 1964 incident in Mississippi, in which he and Harry Belafonte had been run off the road and almost killed by Klansmen while in the state to support the SNCC (Student Non-Violent Coordinating Committee). Goldenrod titled wrappers, noted as REVISED FIRST DRAFT on the front wrapper, rubber-stamped copy No. 84, dated July 1, 1966. Title page present, dated July 1, 1966, noted as REVISED FIRST DRAFT, with credits for screenwriter Stirliing Silliphant. 134 leaves, with last page of text numbered 140. Mimeograph duplication, rectos only, with blue, pink, and white revision pages throughout, dated variously between 7/27/66 and 8/10/66. Pages with damp stain on top right of last several pages, else Near Fine, wrapper Very Good plus, bound with two gold brads. Call Sheet, 8.5 x 14 inches, folded horizontally. Near Fine National Film Registry. Criterion Collection 959. Penzler, 101 Greatest Films of Mystery and Suspense.

Vintage borderless photograph from the 1967 film, showing Warren Oates on the set. Based on John Ball's 1965 novel. An African-American police detective from Philadelphia is recruited to help solve a murder in a small, bigoted Mississippi town. The film dealt skillfully with the topic of race relations in the South during the Civil Rights movement, and included a controversial scene in which a white actor, Larry Gates, slaps Poitier in the face, at which point Poitier slaps him right back. It was said you could determine the racial makeup of a theater by their verbal reaction to the scene: cheers for a predominantly Black audience, or whispers for a predominantly white one. Winner of five Academy Awards including Best Picture, and nominated for two others. Though set in the fictional town of Sparta, Mississippi, Poitier refused to travel below the Mason-Dixon Line, so the film was shot largely in Illinois. 8 x 10 inches. Fine. National Film Registry. Penzler 101.

Vintage reference photograph from the 1967 film. United Artists stamp on the verso. Based on John Ball's 1965 novel. An African American police detective from Philadelphia is recruited to help solve a murder in a small, bigoted Mississippi town. The film dealt skillfully with the topic of race relations in the South during the Civil Rights movement, and included a controversial scene in which a white actor, Larry Gates, slaps Poitier in the face, at which point Poitier slaps him right back. It was said you could determine the racial makeup of a theater by their verbal reaction to the scene: cheers for a predominantly Black audience, or whispers for a predominantly white one. Winner of five Academy Awards including Best Picture, and nominated for two others. Though set in the fictional town of Sparta, Mississippi, Poitier refused to travel below the Mason-Dixon Line, so the film was shot largely in Illinois. 10 x 8 inches. Near Fine. National Film Registry. Penzler 101.

Vintage reference photograph from the 1945 film, showing actors Fred Astaire and Gene Kelly sporting matching suits and mustaches for the tap number "The Babbitt and the Bromide." From the archive of film historian and author Joel Finler. A tribute to the Ziegfeld Follies Broadway shows, composed of a series of lavish, unrelated musical numbers interspersed with comedy sketches. 10 x 8 inches. Very Good plus overall.

Four vintage reference photographs from the 1971 film. Stamp specific to the film's Brussels release on the versos. The third entry in the "Virgil Tibbs" series, following "In the Heat of the Night" (1967) and "They Call Me Mr. Tibbs!" (1970). A group of young revolutionaries break into the headquarters of a crime syndicate and steal four million dollars of heroin to keep it off the street, and call upon Police Lieutenant Virgil Tibbs for assistance. Costarring pinup model and dancer Sheree North, Twentieth Century-Fox's alternative to Marilyn Monroe. Set in San Francisco, and shot there on location. 10 x 8 inches. Near Fine to Very Good plus. Hardy, The Gangster Film, p. 301. Spicer, p. 433.

Collection including four vintage slides and four vintage color transparencies from the 1967 film. Based on John Ball's 1965 novel. An African American police detective from Philadelphia is recruited to help solve a murder in a small, bigoted Mississippi town. The film dealt skillfully with the topic of race relations in the South during the Civil Rights movement, and included a controversial scene in which a white actor, Larry Gates, slaps Poitier in the face, at which point Poitier slaps him right back. It was said you could determine the racial makeup of a theater by their verbal reaction to the scene: cheers for a predominantly Black audience, or whispers for a predominantly white one. Winner of five Academy Awards including Best Picture, and nominated for two others. Though set in the fictional town of Sparta, Mississippi, Poitier refused to travel below the Mason-Dixon Line, so the film was shot largely in Illinois. Transparencies 4 x 5 inches, slides 2 x 2 inches. Near Fine. National Film Registry. Penzler 101.

Three vintage borderless black-and-white photographs taken on the set of the 1967 film: (1) director Norman Jewison sitting alone, (2) Jewison directing Rod Stieger, and (3) Jewison directing a key early scene featuring actors Arthur Malet, Sidney Poitier, and Rod Steiger. With manuscript ink annotations regarding layout on the verso. From the collection of film historian and author Joel Finler. Based on John Ball's 1965 novel. An African American police detective from Philadelphia is recruited to help solve a murder in a small, bigoted Mississippi town. The film dealt skillfully with the topic of race relations in the South during the Civil Rights movement, and included a controversial scene in which a white actor, Larry Gates, slaps Poitier in the face, at which point Poitier slaps him right back. It was said you could determine the racial makeup of a theater by their verbal reaction to the scene: cheers for a predominantly Black audience, or whispers for a predominantly white one. Winner of five Academy Awards including Best Picture, and nominated for two others. Though set in the fictional town of Sparta, Mississippi, Poitier refused to travel below the Mason-Dixon Line, so the film was shot largely in Illinois. One photograph 7.5 x 10 inches, one photograph 10 x 8 inches. Near Fine. National Film Registry. Penzler 101.