Irving shaw (17 Ergebnisse)

Hardcover. Zustand: Good. No Dust Jacket. 300 pages, fifth printing. Some sunning and wear to the covers, pages yellowed; a sound binding. Good overall, no jacket. Illustrator: Politzer, Irving. Quantity Available: 1. Category: Philosophy; Inventory No: 198200. Politzer, Irving (illustrator).

18x11. 666 pgs. Canto tintado en verde. Mancha de humedad en pie de algunas hojas. Cubierta mareada. Texto en tono amarillento y en inglés. 655092.

Zustand: BUONO. Milano, CDE su licenza Gruppo Ed.Fabbri-Bompiani, Sonzogno, Etas cm.13,5x21, pp.314, legatura ed. sopraccopp,fig,a col. Traduz.di Antonio Scarfoglio.

Zustand: papel amarillento. 327 pag. tela editorial con sobrecubierta papel amarillento.

Hardcover. Zustand: Good. 392 pages. Spine cocked. Dj chipped.

Tapa blanda. BestSellers, 53. 268 Narrativa.

paperback. Zustand: Molto buono (Very Good). e altri racconti . 16mo. pp. 178. . Molto buono (Very Good). . . . Book.

Rilegato (hardback). Zustand: Molto buono (Very Good). Traduzione di Marco Amante . 8vo. pp. 380. . Molto buono (Very Good). . Prima edizione italiana (First Italian Edition). . Book.

Brossura. Zustand: Molto buono (Very Good). . 8vo. pp. 410. . Molto buono (Very Good). . Prima edizione italiana (First Italian Edition). . Book.

.- Barcelona . 1980. Plaza y Janés. 19x13 cm. 1 tomo. 312 pgs. Ilustrado. rúst. Buen estado. . . ISBN 10: 8401303052.

Couverture souple. Zustand: bon. RO60062123: 1973. In-12. Broché. Etat d'usage, Couv. légèrement pliée, Dos satisfaisant, Intérieur frais. 348 pages. Premier plat illustré en couleurs. . . . Classification Dewey : 820-Littératures anglaise et anglo-saxonne.

Hardcover. Zustand: As New. No Jacket. Special Edition. 60-volume leather bound set from Easton Press's renowned series "The 100 Greatest Books Ever Written." Collector's Edition. All volumes bound in full genuine leather with 22kt gilt decoration, archival acid-neutral paper, sewn bindings, satin ribbon markers, and moiré endpapers. A beautifully preserved collector's library. Condition: Fifty-nine volumes are in pristine, unread condition. One volume (The Tragedies by Shakespeare) shows very slight shelf wear to the edges; otherwise clean and crisp. No markings, no bookplates, no writing. Gilt edges bright and sharp throughout. Features: - Complete 60-volume Easton Press selection - Full leather bindings with raised bands - 22kt gilt stamping and gilt page edges - Archival quality materials - Smyth-sewn bindings (not glued) - Satin ribbon bookmarks - Moiré silk endpapers - Uniform design across the entire series Superbly preserved Easton Press set in near-mint condition. Domestic shipping 39 EUR.…

New-York, directeur : Irving Stettner. Un volume agrafé (14x21,7cm), 58 pages illustrées en noir. Textes en anglais. Bonne revue de littérature américaine animée durant 20 ans (1974-1994) par Irving Stettner. Au sommaire de nombreux numéros, des inédits de Henry Miller, Mohammed Mrabet, Seymour Krim et Lawrence Durrell. Bon état. Livres.…

First edition. Cloth, light spotting to fore- edge, a near-fine copy in lightly edge-worn dust jacket.

Hardcover. Zustand: Very Good - Cash. No Jacket. Little Women, Peter Pan, The Wizard of Oz, Jane Eyre, A Little Princess, The Secret Garden, Alice in Wonderland, Pinocchio, Robinson Crusoe, Great Expectations, Adventures of Sherlock Holmes, The Legend of Sleepy Hollow, The Jungle Book, Beauty and the Beast, White Fang, King Arthur and the Knights of the Round Table, Moby Dick, Anne of Green Gables, Adventures of Robin Hood, Black Beauty, Pygmalion, Frankenstein, Heidi, Treasure Island, Adventures of Huckleberry Finn, Adventures of Tom Sawyer, The Prince and the Pauper, 200,000 Leagues Under the Sea, Rebecca of Sunnybrook Farm, Swiss Family Robinson. All books have only minor rubbing and edge wear to cover, with light reader wear to pages. Still great condition. Peter Pan slightly more worn with a tear along the spine that has been taped. The paste-downs inside front cover have been reglued down, causing some rippling. Stock photos may not look exactly like the book.…

Revised British script for the 1969 film, a UK-US co-production. Based on the play by Peter Shaffer, written for the screen by Philip Yordan. Dan Pavlides: Fueled by promises of gold, Pizarro (Robert Shaw) and his explorers make a third trip across the treacherous Andes Mountains to Peru, where they meet King Atahuallpa (Christopher Plummer), considered to be a god by his faithful followers. The two leaders overcome their initial mistrust and suspicion, garnering admiration for each other. When the King is sentenced to die, Pizarro tries unsuccessfully to prevent the monarch's death at the hands of gold-hungry explorers. Green titled wrappers with a die-cut title window in the British style. Title page present, dated 1 June 1968, noted as Revised, with credits for screenwriter Yordan. 163 leaves, mechanical duplication, with pink, blue, green, white, tan, and goldenrod revision pages throughout, dated variously between 16 May and 22 July. Pages Near Fine, wrapper Very Good plus bound internally with three screw brads.…

Three typescripts from the papers of Lillah McCarthy (Lady Keeble). The first two both apparently unpublished are full of interest: they gives personal reminiscences of her work with William Poel, the 'pioneer of modern Shakespeare production', whom she considered the greatest influence on her career. She describes Poel's working methods, his lecture style, rehearsals, use of make up, modern influence (with reminiscences about Wolfit and Olivier), and even his death, at which she was present. The second item discusses Irving, with reference to those of his productions which she attended, and a meeting with him. The Poel items are 9 &8pp., the Irving, 4pp. 4toThe three items uniform in layout and paper stock, each printed on rectos and paginated, and each with the leaves stapled together at one corner. The three in good condition, lightly aged. All three items are scarce: no copies are listed on OCLC WorldCat, and the only copy of Item One traced is noted in Claris Glick, 'William Poel: His Theories and Influence' (1964), as at the 'Royal Shakespeare Library' (now part of the Birmingham Shakespeare Library?). ONE: 'NOTES FROM MEMORY OF WILLIAM POEL. | by Lillah McCarthy. (Lady Keeble).' 9pp, 4to. Begins: 'WILLIAM POEL 1895. | Director, Lecturer and Teacher of the Shakespeare Reading Society which still exists. | Founder, Director and Producer of the Elizabethan Stage Society.' Poel was, McCarthy begins, 'pre-eminently a keen Elizabethan scholar: his special subject: Shakespeare. His ambition was to produce Shakespeare's plays as they were produced and acted in Shakespeare's time, with the Apron Stage and the set scene. But as actresses were and had been very popular William Poel had no need to resort only to boy actors as in Shakespeare's day. Delivery of the verse, rapid and clear: perfect diction, rhythm, voice strong and resonant. | Gestures to be employed sparingly, only when really necessary to the action of play, but then strong and definite.' There follows a section on 'Make Up', with descriptions of that used for Lady Macbeth, Viola and Olivia. Of Lady Macbeth she writes: 'The hair or wig no matter what colour was needed for the part. The forehead must be built up high and broad. Hair dressed high, well back from the ears, swept high from the forehead and up from the neck.' Sections follow on 'Carriage Style' and 'Costumes'. She next turns to Poel's activities around the time when she became a member of the Shakespeare Reading Society in 1895. During weekly lectures Poel 'would stand at his desk on the platform and declare in emphatic tones his determination to get a public together that could appreciate Shakespeare for the genius as a playwright. | There was nothing academic about Poel's way of lecturing. He spoke excitedly, passionately and often violently.' She recalls how she took the part of Romeo in one of Poel's public readings: 'We the actors used to sit in a semi-circle in the way that the Theatre Francaise Presented Moliere, each of us standing up when our turn came. Though we knew our parts by heart; Poel saw to that we had to have the book in our hands because it was a "reading".' A page and a half are devoted to Poel's 'Rehearsals', during which he was 'ruthless': 'He rehearsed each of us one at a time. We were made to repeat after him our lines until we had got the rhythm and then the right expression of the passion or the tenderness or other essential of the part which the character demanded.' She performed three Shakespeare parts under Poel's direction, and 'also played the leading part in his production of Swinburne's LOCRINE. He also produced THE BACCHAE in which I played DIONYSUS.' She recalls how the Greek scholar Gilbert Murray, whose translation was used, was present at rehearsals. Returning to Shakespeare, she gives numerous examples of how 'Poel insisted on the YOUTH of Shakespeare's leading characters': 'Youth was exuberant in Shakespeare and old age only a dim background.' She states that while Poel 'was a lion and a tiger' at rehearsals, 'he was in himself charming, sensitive and kind. Never violent off stage but a fury on the lecture platform . . . A man of passionate beliefs and yet gentle withal. I, like every one of his pupils, am entirely grateful to Poel and every one of us recognised that he was a great master.' She explains why 'Poel's rehearsing of "Macbeth" was the most tremendous dramatic experience I have ever known.' She recounts how she was 'with him during his last days in his little home at Putney were he made poverty gracious. He died from bronchitis and wilst sleeping. Sitting by his side, looking at his beautiful sensitive face, I watched the power which had sustained the great pioneer ebb slowly away [] Poel was always a poor man, but he lived a rich life a Shakespearean life and he looked the part; a reincarnation of Shakespeare. His was a great achievement: to have made the British public of the declining years of the last century alive to the beauty of Shakespeare.' In a long footnote she describes how '[t]he influence of Poel is seen today in the acting of, among others, Donald Wolfit and Lawrence Olivier'. She describes an exchange with Wolfit after his 1944 'Lear' ('the finest I have ever seen'), and states that [in the celebrated 1935 production] 'Olivier WAS Romeo: Youth in love.' She also describes a conversation with 'Elsie Fogerty, the Founder and Principal of the Central School of Speech-training and Dramatic Art' on Olivier's performance. Poel's 'methods of production' were, she states, 'adopted at St. James's and Savoy Theatres [] but the 1914 war put a stop to all that'. TWO: 'SIR HENRY IRVING | in 1895 | from memory by Lillah McCarthy.' 4pp., 4to. Begins: 'Sir Henry Irving, so far as I remember, had no jealousy, nor prejudice. He encouraged and helped all members of his profession. I was a student under the direction of William Poel, who was at that time director of the Shakespeare Reading Society. Willia.…