joan parker robert (26 Ergebnisse)

Zustand: Good. Former library copy. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Hardcover. Zustand: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Zustand: Good. Item in good condition and has highlighting/writing on text. Used texts may not contain supplemental items such as CDs, info-trac etc.

Hardcover. Zustand: Good. No Jacket. First Edition. Dust jacket missing. First edition. Shelf and handling wear to cover and binding, with general signs of previous use. Secure packaging for safe delivery.

First Edition. First edition. Small oblong softcover. 80 pages. Features a preface by Tom Muir Wilson, a director's statement by Orrel E. Thompson and a foreword by Robert M. Doty. Includes brief artist statements, images by and information about: Barbara Blondeau, Dennis Brylc, Nicholas Dean, Robert Fichter, Betty Hahn, Robert F. Heinecken, Scott Hyde, Joan Lyons, Stephen Mindel, Joyce Neimanas, Bart Parker, Keith Smith, Michael Spencer, Jerry N. Uelsmann, William Weege, and Tom Muir Wilson. A very good plus copy in wrappers that are somewhat rubbed.

Unknown. Zustand: Fair. No Jacket. Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

83 pp.; 20.3 x 13.7 cm.; sewn bound; black-and-white & color; edition size unknown; unsigned and unnumbered; offset-printed; Survey of young artists of the school of New York edited and with an introduction by B.H. Friedman. Contents include: "Helen Frankenthaler," by B.H. Friedman; "Robert Goodnough," by Barbara Guest; "Grace Hartigan," by Emily Dennis; "Jasper Johns," by Ben Heller; "Alfred Leslie," by James Schuyler; "Joan Mitchell," by Irving Sandler; "Raymond Parker," by Bill Godden; "Robert Rauschenberg," by David Harrison Myers; "Larry Rivers," by Frank O'Hara; "Jon Schueler," by Alastair Reid and "Richard Stankiewicz," by Fairfield Porter. Additional contributions by Walter Silver and Sonya Rudikoff. Includes biographical notes and photographic credits. Good. Rubbing and yellowing of covers with light edgewear and yellow soiling to top edge of recto. Light scratching of covers and rubbing of spine. Contents clean and unmarked.

Hardcover. Zustand: Good. No Jacket. Former library book; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Good. No Jacket. Former library book; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Good. No Jacket. Missing dust jacket; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Fair. No Jacket. Former library book; Readable copy. Pages may have considerable notes/highlighting. ~ ThriftBooks: Read More, Spend Less.

Zustand: Very Good. Black and white press photograph, promotional device resembling lobby card. 8'' x 10''. In Very Good condition. Member of the P.B.F.A. CINEMA [Front of House Press Photograph].

Zustand: Very Good. Black and white press photograph, promotional device resembling lobby card. 8'' x 10''. In Very Good condition. Member of the P.B.F.A. CINEMA [Front of House Press Photograph].

Zustand: Very Good. Black and white press photograph, promotional device resembling lobby card. 8'' x 10''. In Very Good condition. Member of the P.B.F.A. CINEMA [Front of House Press Photograph].

Draft script for the fifth episode of season two of the 1989-1990 television series. The series followed B.L. Stryker, a private eye who lives on a houseboat in southern Florida. In this episode, which originally aired on March 10, 1990, on ABC, Stryker must resolve a hostage situation. Shot in West Palm Beach. Self wrappers. Title page present, dated September 26, 1989, noted as production No. 65707, with credits for screenwriters Robert and Joan Parker. 119 leaves, with last page of text numbered 101. Xerographic duplication, rectos only, with rainbow revision pages throughout, dated variously between 10/25/89 and 10/30/89. Pages Very Good plus, bound with two gold brads.

Encuadernación de tapa blanda. Zustand: Bien. IN BETWEEN THE DARK AND THE LIGHT (Television/Society/Art: A Symposium) Constance DeJong DIVIDING THE LIGHT FROM DARKNESS (James Turrell) Kay Larson KEITH SONNIER S PICTOGRAMS Ted Castle FUTURISM AND THE OCCULT Germano Celant FUTURISM AND MUSICAL NOTES Daniele Lombardi SOME POSTERS FROM FASHION MODA THE UNHAPPY CONSCIOUSNESS OF MODERNISM Donald B. Kuspit NATURE AS SOURCE IN ATHENA TACHA S ART Ellen H. Johnson COLUMNS FEATURES REVIEWS NEW YORK Colin L. Westerbeck, Jr. on Wendell MacRae Colin L. Westerbeck, Jr. on Constantin Brancusi Colin L. Westerbeck, Jr. on Photo Politic Hal Foster on John Willenbecher Hal Foster on Mario Merz Hal Foster on Sylvia Stone Richard Flood on Jonathan Borofsky Richard Flood on Anne Sperry Ronny H. Cohen on Jacqueline Monnier Ronny H. Cohen on Lynton Wells Ronny H. Cohen on The Page as Alternative Space, 1909 1929" Carrie Rickey on Judy Chicago, The Dinner Party Joan Casademont on Eleanor Antin Joan Casademont on John Baldessari Thomas Lawson on William Eggleston Thomas Lawson on Sol LeWitt Thomas Lawson on Richard Bosman Thomas Lawson on Gary Bower J. Hoberman on Ericka Beckman, Out of Hand J. Hoberman on Stuart Sherman Shelley Rice on Joël Hubaut Shelley Rice on Richard Minsky BERKELEY Mary Stofflet on G.P. Skratz and Linda Lemon ONTARIO Martha Fleming on Colin Campbell, Peripheral Blur PARIS Nancy Wilson-Pajić on Martine Aballea.

First Edition. First edition. Softcover. Uncorrected proof. Parker's fifth book, a personal account written with his wife about her experiences dealing with breast cancer. An about good copy in blue printed wrappers with Parker's name written on the spine, staining to the fore edge of the pages and some other wear. Uncommon in this format.

Softcover. Zustand: Near Fine. Revised final draft, "February 10, 1989." Quarto. 60pp. Bradbound in red studio wrappers and pink sheets. Fine. A screenplay for the *Spenser: For Hire* spin-off television series based on the Robert B. Parker with Avery Brooks in the title role. This was the only script written by Parker (with his wife) for the short-lived series that last only 13 episode. It debut on March 25, 1989 as "Poison.".

Hardcover. Zustand: Very Good. Zustand des Schutzumschlags: Very Good. First edition. Bumping on the top board edge and corners else very good in a very good dustwrapper with rubbing and edgewear. Signed by Robert B. Parker on the title page. Noted mystery author's account of his wife's battle with cancer.

Softcover. Zustand: Fine. First draft, "January 27, 1989." Quarto. 58pp. Bradbound in red studio wrappers. Fine. A screenplay for the *Spenser: For Hire* spin-off television series based on the Robert B. Parker with Avery Brooks in the title role. This was the only script written by Parker (with his wife) for the short-lived series that last only 13 episode. It debut on March 25, 1989 as "Poison.".

Softcover. Five screenplays. Quartos. 58pp, 59pp., 60pp., 55pp., and 55pp., with two groups of additional revisions laid in of 15pp., and 4pp., respectively. Bradbound in red studio wrappers, each with various color sheets: white, blue, red, yellow, green, and "buff." Near fine with some light wear at the edges. A collections of five versions of the screenplay for the *Spenser: For Hire* spin-off television series, *A Man Called Hawk*, based on the Robert B. Parker character played by Avery Brooks. The scripts include: "First Draft" (1/27/89), "Final Draft" (2/9/89), "Revised Final Draft" (2/10/89), "2nd Revised Final Draft" (2/14/89), and another "2nd Revised Final Draft" with two separate groups of loose sheets laid in, each with additional changes (2/21/89 and 2/22/89). Together the scripts show the difficult development process that television scripts undergo and are particularly interesting in revealing Parker's involvement with this story penned along with his wife Joan. The episode, first titled "White Poison," was originally broadcast on March 25, 1989 as "Poison." Screenplays for *Spenser: For Hire* are available on the market, with copies written by Parker notably scarcer. We have seen no other screenplays of *A Man Called Hawk*, let alone several versions of the sole episode written by Parker.

Vintage portrait photograph of Norman Lloyd from the classic 1942 Hitchcock film, with a provenance stamp on the verso. From the archive of noted Hollywood still photographer Ray Jones. Born in Wisconsin on January 1, 1901, Jones worked for Paramount Pictures in the early 1930s, and went on to be the head of the still photography department at Universal Pictures in 1935, where he worked well into the 1950s. A high spot among Alfred Hitchcock's early thrillers, and the director's only collaboration with author Dorothy Parker, who contributed to the screenplay. The film included much more location footage than most of the director's pictures, including Boulder Dam, locations in New York City including Radio City Music Hall and Rockefeller Center, and of course Liberty Island for the famed closing scene on the Statue of Liberty. 8 x 10 inches. Near Fine. Grant US. Selby US. Spicer US.

Vintage studio still photograph from the 1942 film, showing actors Robert Cummings and Priscilla Lane. Date stamp and provenance stamp on the verso. From the archive of noted Hollywood still photographer Ray Jones. Born in Wisconsin on January 1, 1901. Jones worked for Paramount Pictures in the early 1930s, and was the first still photographer to win an Academy Award. He went on to be the head of the still photography department at Universal Pictures, where he worked well into the 1950s. A high spot among Alfred Hitchcock's early thrillers, and the director's only collaboration with author Dorothy Parker, who contributed to the screenplay. The film included much more location footage than most of the director's pictures, including Boulder Dam, locations in New York City including Radio City Music Hall and Rockefeller Center, and of course Liberty Island for the famed closing scene on the Statue of Liberty. 10 x 8 inches. Very Good, moderately wavy on the bottom and top edges, with touch-ups on the recto.

Zustand: Good. Each about 60 leaves, bound with brads. Photocopies of preliminary script for an episode of a spinoff of Spenser. Dated December 13, 21, 27 & 30, 1988.

Three vintage publicity photographs from the 1942 film, one showing actor Alan Baxter in heavy makeup and costume as Freeman, the other two showing actors Robert Cummings and Priscilla Lane. One with a printed mimeo snipe affixed to the verso, and one with a provenance stamp on the same. From the archive of noted Hollywood still photographer Ray Jones. Born in Wisconsin on January 1, 1901. Jones worked for Paramount Pictures in the early 1930s, and was the first still photographer to win an Academy Award. He went on to be the head of the still photography department at Universal Pictures, where he worked well into the 1950s. A high spot among Alfred Hitchcock's early thrillers, and the director's only collaboration with author Dorothy Parker, who contributed to the screenplay. The film included much more location footage than most of the director's pictures, including Boulder Dam, locations in New York City including Radio City Music Hall and Rockefeller Center, and of course Liberty Island for the famed closing scene on the Statue of Liberty. 8 x 10 inches. Very Good to Very Good plus.

Vintage reference photograph taken on the set of the 1942 film, showing an elaborate ballroom scene, with director Alfred Hitchcock, cameraman Joseph Valentine, and actors Priscilla Lane and Robert Cummings in conversation in the foreground. With a printed mimeo snipe affixed to the verso. A high spot among Alfred Hitchcock's early thrillers, and the director's only collaboration with author Dorothy Parker, who contributed to the screenplay. The film included much more location footage than most of the director's pictures, including Boulder Dam, locations in New York City including Radio City Music Hall and Rockefeller Center, and of course Liberty Island for the famed closing scene on the Statue of Liberty. 10 x 8 inches. Near Fine.