Jones jan l (25 Ergebnisse)

Zustand: Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc.

Zustand: Very Good. 1st Edition. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Very Good. 1st Edition. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Fine. Used book that is in almost brand-new condition. May contain a remainder mark. Better World Books: Buy Books. Do Good.

Zustand: Very Good. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good. Jones, Jan Naimo (illustrator).

Zustand: Good. 1st Edition. 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.…

Zustand: Very Good. 1st Edition. Former library copy. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Includes library markings. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good. …

Hardcover. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Zustand: New. Presents an illustrated history of the showmen, performers, theaters, and events that shaped the city's theatrical fortunes in the nineteenth and twentieth centuries. This book chronicles the early amateur theatricals of the 1870s, the development of "Hell's Half Acre" and the opening of Evans Hall, the town's first legitimate theater. Num Pages: 360 pages, 150 b&w photos, bib., index. BIC Classification: 1KBBSX; 3JH; 3JJ; AN. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 279 x 216 x 34. Weight in Grams: 1152. . 2006. hardcover. . . . . Books ship from the US and Ireland.…

Zustand: New. 1999. paperback. . . . . . Books ship from the US and Ireland.

hardcover. Zustand: Used-Very Good. First Edition. 4to. Cloth, d.j. Some shelf-wear. Else clean copy.

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. 1st. NW-Fine regular size hardcover in a fine jacket. gray w/black & red lettering Size: 8vo - over 7¾" - 9¾" tall. Jones, Jan Naimo (illustrator).

Zustand: As New. Unread book in perfect condition. Jan Naimo Jones; Michael Frost (illustrator).

Zustand: As New. Unread book in perfect condition. Jones, Jan Naimo (illustrator).

Zustand: As New. Unread book in perfect condition. Jones, Jan Naimo (illustrator).

Zustand: As New. Unread book in perfect condition.

Zustand: As New. Unread book in perfect condition. Budkowski, Jan (illustrator).

Hardcover. Zustand: Brand New. 360 pages. 11.25x8.75x1.25 inches. In Stock.

Taschenbuch. Zustand: Neu. Neuware - In 1936 as Texas prepared to celebrate its centennial--100 years after the Battle of San Jacinto--Dallas was chosen as the site of the official exhibition. Plans were under way for a modest Frontier Days Celebration in Fort Worth--until Star-Telegram publisher and civic booster Amon G. Carter stepped in. Carter considered the naming of Dallas as the official site a gross miscarriage of justice and was determined to get even by mounting a show that would directly rival the official event--and pull tourist dollars into Fort Worth. To put his celebration together Carter hired flamboyant Broadway producer Billy Rose. The result was Fort Worth's Frontier Centennial, an improbable conglomeration of agricultural exhibits, sideshow nudes, an old-time Wild West show, Rose's musicalized circus Jumbo, and a parade of Broadway and vaudeville talent led by feature artiste, stripper Sally Rand. The centerpiece for this extravaganza was the dinner theater, Casa Mañana, with the world's largest revolving stage surrounded by a tank of water on which it seemed to float, over twenty fountains, and geysers of water that shot into the air at strategic intervals. The building featured over thirty Spanish-style arches, was 320 feet in length, and contained the world's longest bar, a fact of which Rose was inordinately proud. But it was the revue on this magnificent stage that truly made theatrical history. On opening night, Paul Whiteman raised his baton and two bands swung into the fanfare. There were interpretations of the St. Louis World's Fair, the Paris Exposition of 1925, and Chicago's 1933 Century of Progress Exposition. Texas 'Sweetheart Number One' wore a $5,000 gold-mesh gown, and Sally Rand wore only a huge opaline balloon. On opening night when the orchestra played 'The Eyes of Texas,' the audience rose to its feet singing, whistling, and cheering. 'Texans,' wrote one critic, 'are not given to polite applause.' The Frontier Centennial and its sequel, the Frontier Fiesta, closed after only two brief seasons (1936 and 1937), the second season cut short by controversy and lawsuits. Rose left Fort Worth under a cloud, informed by city fathers that his services were no longer needed. Undaunted, he went on to become a multimillionaire with almost legendary status as a theatrical producer. But Fort Worth was never again the same after the Frontier Centennial . . . and memories of that festival linger today, even though the buildings were long ago razed. Today a permanent theater-in-the-round, appropriately named Casa Mañana, is located on the centennial grounds. Popular with Fort Worthians, it can only echo the splendor of the original.…

Zustand: New. Presents an illustrated history of the showmen, performers, theaters, and events that shaped the city s theatrical fortunes in the nineteenth and twentieth centuries. This book chronicles the early amateur theatricals of the 1870s, the development of Hell.

Buch. Zustand: Neu. Neuware - In 1936 as Texas prepared to celebrate its centennial--100 years after the Battle of San Jacinto--Dallas was chosen as the site of the official exhibition. Plans were under way for a modest Frontier Days Celebration in Fort Worth--until Star-Telegram publisher and civic booster Amon G. Carter stepped in. Carter considered the naming of Dallas as the official site a gross miscarriage of justice and was determined to get even by mounting a show that would directly rival the official event--and pull tourist dollars into Fort Worth. To put his celebration together Carter hired flamboyant Broadway producer Billy Rose. The result was Fort Worth's Frontier Centennial, an improbable conglomeration of agricultural exhibits, sideshow nudes, an old-time Wild West show, Rose's musicalized circus Jumbo, and a parade of Broadway and vaudeville talent led by feature artiste, stripper Sally Rand. The centerpiece for this extravaganza was the dinner theater, Casa Mañana, with the world's largest revolving stage surrounded by a tank of water on which it seemed to float, over twenty fountains, and geysers of water that shot into the air at strategic intervals. The building featured over thirty Spanish-style arches, was 320 feet in length, and contained the world's longest bar, a fact of which Rose was inordinately proud. But it was the revue on this magnificent stage that truly made theatrical history. On opening night, Paul Whiteman raised his baton and two bands swung into the fanfare. There were interpretations of the St. Louis World's Fair, the Paris Exposition of 1925, and Chicago's 1933 Century of Progress Exposition. Texas 'Sweetheart Number One' wore a $5,000 gold-mesh gown, and Sally Rand wore only a huge opaline balloon. On opening night when the orchestra played 'The Eyes of Texas,' the audience rose to its feet singing, whistling, and cheering. 'Texans,' wrote one critic, 'are not given to polite applause.' The Frontier Centennial and its sequel, the Frontier Fiesta, closed after only two brief seasons (1936 and 1937), the second season cut short by controversy and lawsuits. Rose left Fort Worth under a cloud, informed by city fathers that his services were no longer needed. Undaunted, he went on to become a multimillionaire with almost legendary status as a theatrical producer. But Fort Worth was never again the same after the Frontier Centennial . . . and memories of that festival linger today, even though the buildings were long ago razed. Today a permanent theater-in-the-round, appropriately named Casa Mañana, is located on the centennial grounds. Popular with Fort Worthians, it can only echo the splendor of the original.…

Buch. Zustand: Neu. Neuware - Jan L. Jones' second volume on Fort Worth's theatrical heritage presents for the first time a richly illustrated, comprehensive history of the showmen, performers, theaters, and events that shaped the city's theatrical fortunes in the nineteenth and twentieth centuries. Jones chronicles the early amateur theatricals of the 1870s, the development of ''Hell's Half Acre'' with its many variety theaters and honky tonks, and the opening of Evans Hall, the town's first legitimate theater. By 1883 far-sighted civic leaders had completed the Fort Worth Opera House, and by 1886 the city had joined the touring circuit of Galveston showman Henry Greenwall. Under Greenwall's aegis, many of the era's leading players appeared in the city, including Edwin Booth and Sarah Bernhardt. The Texas Spring Palace exhibitions of 1889 and 1890 brought national acclaim and did much to alter perceptions of the community as a frontier cow town. In the twentieth century, vaudeville's popularity led to construction of two Majestic theaters just six years apart, in 1905 and 1911. Participating in the establishment of the Fort Worth Little Theater following World War I was a still-unknown Texas writer, Katherine Anne Porter. During the 1930s, the city was once again catapulted to national prominence when New York producer Billy Rose created Broadway-style revues for Casa Manana, the city's contribution to the Texas Centennial celebration. Establishment of the Fort Worth Opera, Casa Manana Musicals, and the Fort Worth Community Theater following World War II set the stage for what had become, by the end of the twentieth century, a vibrant community of permanent companies, including Jubilee Theater, Hip Pocket Theatre, Stage West, and Circle Theatre. The twentieth century ended dramatically with completion of the Nancy Lee and Perry R. Bass performance Hall. …

Original hardcover, dust-jacket. vi,256 pp.; 24.5x16.5 cm. " Acta Historiae Neerlandicae, Studies on the History of the Netherlands X " - (previous owner's name) Very good. See picture 600g.