rue jack (7 Ergebnisse)

Paperback. Zustand: Good. 2. It's a preowned item in good condition and includes all the pages. It may have some general signs of wear and tear, such as markings, highlighting, slight damage to the cover, minimal wear to the binding, etc., but they will not affect the overall reading experience.

Hardcover. Zustand: Very Good. 1st Edition. 3rd printing ; 134 pp. ; illustrated ; 26 cm. ; LCCN: 62-11348 ; LC: QL737.U5; Dewey: 599.735 ; OCLC: 328487 ; "A Living world book" ; ex-lib, stamps, pocket, labels ; "This book is the culmination of years of observation of the white-tailed deer in the field. I have read about them and photographed them at every opportunity.I am fortunate to have lived most of my life in an area that has a tremendous deer population. Deer are my closest neighbors and about tenfold more numerous than their human counterparts.[T]he study of deer has been a never-ending quest of mine."--introduction ; VG. Book.

Zustand: New. Hopkins, George (illustrator).

Final script for the 1935 film. Specially bound copy belonging to screenwriter Jerry Wald, with his name in gilt on the front board. Jerry Wald is best remembered for his long and successful association with Warner Brothers as both a screenwriter and producer of a number of notable films, including "Mildred Pierce" (1945), "Humoresque" (1946), "Key Largo" (1948), and "Flamingo Road" (1949). In the 1950s he moved to Twentieth Century-Fox, and was the producer there for "An Affair to Remember" (1957), "Peyton Place" (1957), and "Sons and Lovers" (1960). After her parents are murdered by mobsters, a young girl endears herself to her newfound caretakers, a pair of kindhearted, small-time confidence men. Set in New York. Bound in full red leather, with gilt titles on the front board and spine. Distribution page present, stamped copy No. 95 and noted as Final, with receipt intact. Title page present, dated 5/14/35, with credits for screenwriters Robert Andrews, Julius J. Epstein, and Jerry Wald. 125 leaves, with last page of text numbered 122. Mimeograph duplication, rectos only. Pages Near Fine, binding Very Good plus, lightly worn at the corners and spine.

Vintage reference photograph of actors Helen Twelvetree and Donald Cook with director Lewis D. Collins, examining celluloid strips from the day's production on the set of the 1935 film. Mimeo snipe on the verso, along with annotations in manuscript pencil. Based on the 1935 Ellery Queen novel, about a detective whose vacation on the California coast is interrupted by a murder in the neighboring cabin. Set in California. 10 x 8 inches. Near Fine, with a hint of wear at the corners.

Five vintage reference photographs taken the set of the 1936 film, two showing director Lloyd Corrigan, one showing costume designer Robert Edmond Jones, and two showing Corrigan and Jones with various visitors to the set. Printed folded mimeo snipes affixed to the verso, and one with a stamp crediting photographer William E. Thomas. A dance teacher is captured by pirates, escapes into Spanish California, but is subsequently mistaken for a pirate by the local townspeople and captured. The third film shot in the three strip Technicolor process, and the first musical to use that format. Director Lloyd Corrigan is better remembered for his mystery films, most notably the 1931 Fu-Manchu film "Daughter of the Dragon," starring Anna May Wong. Corrigan also enjoyed a lengthy career as a character and comic actor, appearing in films such as "The Manchurian Candidate" (1962) and "It's a Mad Mad Mad Mad World" (1963). 10 x 8 inches. Near Fine.

Four vintage photographs from the 1933 film, one double weight and sepia, one double weight and black-and-white, and two single-weight and sepia. Based on William Faulkner's 1931 literary potboiler "Sanctuary," about a wealthy southern belle who goes to trial for murdering the violent bootlegger who abducted her and forced her into prostitution. Every bit as controversial as the source material, the film's depiction of sexual violence was graphic and shocking even among films of the era, and, along with the same year's equally sensational "Baby Face," was directly responsible for the stricter enforcement of the Production Code in 1934, bringing the pre-Code era to a close. George Raft, then under contract to Paramount, was assigned the role of the bootlegger, but found the part repulsive and went to battle with the studio in a suit that nearly cost him his career. Unavailable for decades outside of 16mm bootlegs, the film was restored by the Museum of Modern Art in 2011 and screened at the TCM Classic Film Festival, but still awaits a commercial release. Photographs between 9.75 x 7.5 and 8 x 10 inches. Very Good plus overall. Grant US.