Lahr jack l (8 resultados)

hardcover. Condición: Good. Connecting readers with great books since 1972! Used textbooks may not include companion materials such as access codes, etc. May have some wear or writing/highlighting. We ship orders daily and Customer Service is our top priority.

Cloth Hardback. Condición: Very Good. Estado de la sobrecubierta: Very Good. Inscribred by Kintner on facing page 539pp including index Yellow highlighting in some chapters Dust jacket is chipped and torn on edges Protective mylar cover on dust jacket. Signed by Author(s).

Hardcover. Condición: Good. Good as graded in hand. Black cloth hardcover boards show general surface wear and light scuffing throughout, with bumping and wear along the spine edges; the back cover has visible scratches and marks. No dust jacket is present. Interior pages are clean and unmarked, and the binding is sound and intact. A solid, honest copy of a hard-to-find vintage legal reference.…

Hardcover. Condición: Very Good. Estado de la sobrecubierta: Good. Signed by Author(s).

Hardcover. First edition. First printing [stated]. xix, [1], 539, [1] p. Selected Bibliography. Index. This was the sixth and final book in Kinter's series for the Macmillan Publishing Co. of primers form businessmen, lawyers, and students on antitrust and trade regulation. From an on-line obituary posting: "Earl W. Kintner, a chairman of the Federal Trade Commission in the Eisenhower Administration and a longtime senior partner in the Washington law firm of Arent, Fox, Kintner, Plotkin & Kahn, died [1992]. He was 79 years old and lived in Washington.As chairman of the commission from 1959 to 1961, Mr. Kintner urged industry to regulate itself, but he also vigorously enforced antitrust regulations. During his first year in the job, the soft-spoken lawyer repeatedly called on the television industry to police itself with respect to false and misleading advertising and then warned that his agency would conduct a formal investigation if necessary. "Self-policing is no good unless there's a cop on the corner with a big stick, who's willing to use it, " he said in an interview. Under his leadership, the agency issued a record number of complaints and orders in the 1960 fiscal year aimed at false advertising and other deceptive trade practices and at monopolistic activities." Very good in good dust jacket. Inscribed by Kinter and also signed by Lahr. DJ has some wear, scratches, soiling, edge tears and chips.…

Cloth. Condición: Very Good. Autographed by both authors on FEP. This is a hard cover book with black cloth covered boards. Silver titling on cover and spine. Dust jacket is unclipped. "A survey of the law of patents, trade secrets, trademarks, franchises, copyrights, and personality and entertainment rights." Professional book dealer since 1975. All orders are processed promptly and packaged with the utmost care. Satisfaction guaranteed. ; Signed by Authors.…

Later printing of the twelfth of the Oz books, remarkably signed by the seven principal stars of the classic 1939 film, The Wizard of Oz. Quarto, original brown cloth with pictorial label to the front panel, printed black title andÂTin Man vignette to spine, illustrated by John R. Neill. Presentation copy, signed on the verso of the front free endpaper and on the half-title by the filmâs seven leading players, Judy Garland (Dorothy), Ray Bolger (the Scarecrow), Jack Haley (the Tin Woodman), Bert Lahr (the Cowardly Lion), Frank Morgan (the Wizard), Billie Burke (Glinda), and Margaret Hamilton (the Wicked Witch of the West). Several have inscribed their signatures to âBillâ or âWilliam,â Jack Haley writing âBill, greatest wishes,â Margaret Hamilton âTo Bill, best wishes,â and Judy Garland, on the half-title, âTo William, warmest wishes, Judy Garland.â The 1939 film adaptation The Wizard of Oz, directed by Victor Fleming and produced by Metro-Goldwyn-Mayer, was revolutionary in its visual and technical achievements. While it was not the first color film, it was among the earliest and most influential to use Technicolor as a deliberate artistic device rather than a novelty. The dramatic shift from the sepia-toned realism of Kansas to the vibrant, multicolored world of Oz symbolized Dorothyâs passage from ordinary life into the realm of imagination and self-discovery. This use of color served both aesthetic and thematic purposes, illustrating the emotional and psychological contrasts between confinement and freedom. The filmâs combination of groundbreaking visuals, memorable music, and universal moral lessons elevated it beyond a childrenâs fantasy, turning it into a defining moment in cinematic history. The Wizard of Oz thus demonstrated how emerging technologies could be harnessed to deepen narrative meaning and create enduring cultural myths. In good condition, the front free endpaper and half-title loose but holding, with light dampstaining, minor toning, and a few stray stains, the cloth bumped and lightly frayed at the extremities with light wear to the cover label, lacking the dust jacket. Greene and Hanff XII. ÂAn exceptional example, rare and desirable signed by seven leading members of the groundbreaking cinematic masterpiece including Judy Garland. The Tin Woodman of Oz, first published in 1918, was the twelfth of Baum?s Oz books and the one in which he at last told the poignant backstory of the Tin Woodman, once a living man named Nick Chopper who lost his limbs one by one to an enchanted axe until he was made entirely of tin. Though Baum died in 1919, the Oz series continued for decades under other hands, and it was the 1939 MGM film, starring Judy Garland as Dorothy, that carried the story to worldwide and enduring fame. Consistently ranked among the greatest films ever made, celebrated for its unforgettable songs and its magical transition from sepia Kansas to Technicolor Oz, The Wizard of Oz made lasting stars of its cast and remains one of the most watched and beloved motion pictures of all time. …

First edition, first printing of this classic work in L. Frank Baumâs celebrated Oz series, the last of the series to appear during Baumâs lifetime, as he passed away shortly before its release in 1919. First printing with the verso of the ownership page listing Baum titles through The Tin Woodman of Oz. Octavo, original publisher's full lime green cloth with pictorial label affixed to front board, spine stamped in black with "Reilly" of the publisher's imprint measuring 7/8 in., black-and-white pictorial endpapers, illustrated with frontispiece and 9 colored plates by John R. Neill. Signed by seven leading cast members from The Wizard of Oz (1939) film Judy Garland (1922-1969), Billie Burke (1884-1970), Ray Bolger (1904-1987), Frank Morgan (1890-1949), Bert Lahr (1895-1967), Margaret Hamilton (1902-1985), Jack Haley (1897-1979), and director Victor Fleming (1889-1949), additionally inscribed by Fleming on frontispiece verso. The 1939 film adaptation The Wizard of Oz, directed by Victor Fleming and produced by Metro-Goldwyn-Mayer, was revolutionary in its visual and technical achievements. While it was not the first color film, it was among the earliest and most influential to use Technicolor as a deliberate artistic device rather than a novelty. The dramatic shift from the sepia-toned realism of Kansas to the vibrant, multicolored world of Oz symbolized Dorothyâs passage from ordinary life into the realm of imagination and self-discovery. This use of color served both aesthetic and thematic purposes, illustrating the emotional and psychological contrasts between confinement and freedom. The filmâs combination of groundbreaking visuals, memorable music, and universal moral lessons elevated it beyond a childrenâs fantasy, turning it into a defining moment in cinematic history. The Wizard of Oz thus demonstrated how emerging technologies could be harnessed to deepen narrative meaning and create enduring cultural myths. In very good condition, lacking plates opposite pp. 48 & 236 (though it seems they were never inserted to begin with). Housed in a custom full morocco clamshell box by Asprey with pictorial morocco onlays. An exceptional example, rare and desirable signed by seven members of the groundbreaking cinematic masterpiece including Judy Garland. The Magic of Oz held a crucial place in the development of Baumâs imaginative universe, as it extended the themes and moral lessons that had characterized his earlier works. The novel portrayed a maturing vision of Oz, where the balance between innocence and corruption, power and responsibility, became increasingly complex. The story followed the young boy Kiki Aru, who discovered a magical word capable of transforming beings, and whose misuse of that power threatened the harmony of the Emerald City. Through the intervention of established figures such as Dorothy, Glinda, and the Wizard, Baum emphasized the redemptive power of community, empathy, and moral integrity. Written in lucid yet symbolically rich prose, the book reflected Baumâs persistent idealismâ"the belief that wisdom and cooperation could preserve a just society. Thus, The Magic of Oz functioned not only as a continuation of his fantasy world but also as a meditation on human nature and ethical order within a utopian framework.…