peters wesley (19 resultados)

paperback. Condición: Good. Robinson, Kiana Ilustrador. This is a used book in good condition and may show some signs of use or wear . This is a used book in good condition and may show some signs of use or wear .

Paperback. Condición: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Soft cover. Condición: Good. ORIGINAL1988 PUBLICATION; softcover; ex-library; scuffed along spine where disbound; o/w contents in very good condition. Book.

Condición: Good. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library, so some stamps and wear, but in good overall condition. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions.

Paperback. Condición: Brand New. 192 pages. 9.61x6.69x0.44 inches. In Stock.

Softcover. First Edition; First Printing. Book condition is Very Good in wraps. Slight foxing to covers. Some edge wear to exterior. Text is clean and unmarked. ; 8vo. 9"h x 6"w. In this issue: "Seriously, But Not Literally: Pragmatism and Realism in Religion and Science", "Experience and Explanation: The Justification of Cognitive Claims in Theology", Theology's Truth and Scientific Formulation", "Critical Realism in Theory and Practice: Response to Robbins, Van Huyssteen, and Hefner".

Softcover. First Edition; First Printing. Book condition is Very Good in wraps. Slight foxing to covers. Some edge wear to exterior. Text is clean and unmarked. ; 8vo. 9"h x 6"w. In this issue: "Storytellers and Scenario Spinners: Some Reflections", "An Unfinished Debate: What are the Aims of Religion and Science?", "Chaos and God's Abundance: An Ontology of Variety in the Divine Life", "Naturalisms and Religion", "Polanyi's Finalism", "Should we be trying so hard to be Postmodern?", "Broken-Backed Naturalism", "A Richer of a Poorer Naturalism?".

Condición: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,450grams, ISBN:9780976828921.

Soft cover. Condición: Near Fine. 89 pages bound by plastic comb binding, title embossed in blind, 11-in tall oblong. Illustrated with many architectural drawings of the proposed Monona Terrace Community and Convention Center on the shores of Lake Monona. This plan, which finally saw completion in 1998, preserves the "fundamental design conceived by Frank Lloyd Wright" in 1938. Peters, the architect for the Monona Basin Project, was vice president of the Frank Lloyd Wright Foundation and one of Wright's first students. Front cover with small white spot where surface color rubbed off.

Soft cover. Condición: Good. Blue spiral bound with some waviness to the paper. Size: Oblong Quarto. Book.

Wraps. Condición: Very Good. First Edition. 89 pp. Oblong Folio. Light blue paper wraps with blind embossed titliing on front cover, dark blue plastic come binding. Losses to edges of upper right and lower left corner of front cover, lower left corner of rear cover. Contains maps, space diagrams, transportation plans, mechanical services, etc. Controversial from when Wright first proposed it in 1938, this schamatic represents a second pass at the project that came very close to moving forward in the late 1960s. Finally built in a modified version and opened in 1997, only the convention center was built, the extensive parklands along Olin Park and Turville Point to the southwest were not part of the final project.

Softcover. Three volumes. Softcovers, with plastic comb bindings. The Master Plan volume is signed & inscribed on the title page by Peters. 1) "Schematic Master Plan for the City of Madison, Wisconsin". December, 1967, 89 pages, 11" x 14". There is a 28" x 22" folded poster for the project, and an Errata sheet laid-in. The plastic comb on this volume is damaged; some of the "teeth" are missing, and most have pulled through the covers. The covers are age-toned, and stained. Rubbing along the cover fore-edges, and the corners are a bit bumped. The pages are a bit age-toned, but clean. The folded poster has a rubbed spot on the outer panel, and is also a bit age-toned; else clean. 2) "The Developed Master Plan for the Monona Basin Project for Madison, Wisconsin". July 17, 1968, 12 pages, 11" x 8-1/2". Some staining, and a bit of age-toning to the covers. Corner tips a bit bumped. Pages are just a bit age-toned, but clean. 3) "Madison Civic Auditorium for Madison, Wisconsin / Designated First Stage of Construction Monona Basin Project, Madison, Wisconsin / Schematic Design Presentation". July 17, 1968, 36 pages, 11" x 8-1/2". Covers are age-toned, and with a bit of very light staining. Corner tips a bit bumped, and a 1/4" closed tear at the bottom edge of the front cover. Pages a bit age-toned, but clean. The first volume is a bit large; Priority and/or International may require shipping over and above standard costs. ; 29B.

Hardcover. Condición: Good. First American Edition. No. 459C of 2,600 copies printed, of which 2,500 were offered for sale. Plates printed on card stock and housed in the original portfolio with black cloth spine, fore-edge, and inner flaps over dark grey printed boards, the upper cover with a large red mounted label; two ribbon ties (one broken). Portfolio worn and scuffed, cloth faded, flaps worn, upper cover with light wear at head. Complete with the 32-page booklet containing the Foreword by Peters, the Introduction by Wright, and the list of plates with notes by the architect. Internally very good, with all plates in excellent condition; the portfolio worn.

Two vintage studio still photographs from the 1959 film, one photograph under the original release title "Steam Heat." Director Russ Meyer's first commercially successful film. Shot without sound, with a voice-over narration and a musical theme added, and noted for extensive female nudity. Mr. Teas is a door to door salesman selling dentists' appliances who seems to encounter buxom nude women everywhere he goes. Set in and shot on location in Los Angeles and Malibu, California. 8 x 10 inches. Very Good plus, one with faint creasing, light edgewear, and four pinholes, and one with light edgewear, a half inch closed tear to the upper right side, and a small chip in the bottom margin.

A Eight vintage still photographs from the 1959 film. Included are 4 stills from the US release, and 4 stills from the UK release under the title "Mr. Teas and His Playthings." From a cursory glance, one can immediately see the differences with regard to nudity paid by both US and UK publicists, the UK stills decidedly more liberal with regard to the "forbidden flesh." The US stills were taken directly from scenes of the film, and the UK stills appear to be from either a deleted scene or a mock setup designed for foreign publicity, with Mr. Teas seen in a bathhouse with the "Buxom Bath House Beauties" (Baby Dahl, Chicky Fricase, Frenchie Tost, Teri Clawthe) that were not seen in the final cut. The UK stills purport "Monstrous Murder!" and "Sizzling Suspense!" taglines, however the final cut features neither murder nor suspense. The story finds the shy Mr. Teas, played by William Ellis Teas, a door-to-door dental appliance salesman who has a chemical reaction with an anesthetic that allows him to have X-ray vision, as in "seeing through women's clothes." He also overcomes all of his inhibitions, leading to ribald encounters with his dental nurse, his therapist, his secretary, a girl in a bar, etc. Russ Meyer's first feature, produced by Pad-Ram Enterprises (a monogram using the initials of director Russell Albion Meyer and producer Peter A. DeCenzie), and the film that basically launched the lighthearted "nudie" pictures of the early 1960s. The film was immediately touted as "ribald" and "Frenchy," with regard to the "genuinely sexy sequences with generous expanses of attractive flesh" that used to be seen strictly in foreign films. At a time when Hollywood moguls were losing audiences to the comfort of in-home cinema through television, Meyer and DeCenzie (who spent years on the burlesque and night club circuits) released an independent, naturally sexy endeavor in the tradition of the great Chaplin films. The bigger productions companies would never have made a film as far overboard on sex. For his debut, Russ Meyer did even more of the crew work than usual, shooting in four days during the spring of 1958 with a budget of $24,000, ultimately making over $1.5 million worldwide. The film was marketed as a "nudist" film, with a "French" sensibility, but exhibited all the distinctive traits for which Meyer would soon become known, including large bosoms, insane plots, a somewhat feminist perspective, campy dialogue, and guerilla cinematography. Shot on location in various California destinations, including Malibu Lagoon State Beach. Meyer even shot various scenes at his beach-front home in Los Angeles. All stills 8 x 10 inches, some differ slightly in size. Two US stills Very Good plus, others Near Fine. UK stills Near Fine.

Original pressbooks (two variants) for 1961 re-releases of the 1959 film. Featured are the two most commonly seen layouts used for publicity: the full-color illustrated "hat" variant, and the other with Mr. Teas surrounded by a bevy of well-developed women, the female leads of the film (from left to right: Ann Peters, Michele Roberts, Dawn Danielle, and Marilyn Wesley). The story finds the shy Mr. Teas, played by William Ellis Teas, a door-to-door dental appliance salesman who has a chemical reaction with an anesthetic that allows him to have X-ray vision, as in "seeing through women's clothes." He also overcomes all of his inhibitions, leading to ribald encounters with his dental nurse, his therapist, his secretary, a girl in a bar, etc. Russ Meyer's first feature, produced by Pad-Ram Enterprises (a monogram using the initials of director Russell Albion Meyer and producer Peter A. DeCenzie), and the film that basically launched the lighthearted "nudie" pictures of the early 1960s. The film was immediately touted as "ribald" and "Frenchy," with regard to the "genuinely sexy sequences with generous expanses of attractive flesh" that used to be seen strictly in foreign films. At a time when Hollywood moguls were losing audiences to the comfort of in-home cinema through television, Meyer and DeCenzie (who spent years on the burlesque and night club circuits) released an independent, naturally sexy endeavor in the tradition of the great Chaplin films. The bigger productions companies would never have made a film as far overboard on sex. For his debut, Russ Meyer did even more of the crew work than usual, shooting in four days during the spring of 1958 with a budget of $24,000, ultimately making over $1.5 million worldwide. The film was marketed as a "nudist" film, with a "French" sensibility, but exhibited all the distinctive traits for which Meyer would soon become known, including large bosoms, insane plots, a somewhat feminist perspective, campy dialogue, and guerilla cinematography. Shot on location in various California destinations, including Malibu Lagoon State Beach. Meyer even shot various scenes at his beach-front home in Los Angeles. Both pressbooks 11 x 17 inches, folded horizontally. "Hat" variant includes a 9 x 12 ad mat dated "Fri., Aug. 18, 1961." Light rubbing overall, rubber stamps from "Sack Amusement Enterprises" in Dallas, Texas, and a few light creases and tiny closed tears, else Near Fine.

Vintage pressbook for the 1959 film. A door-to-door dental appliance salesman has a chemical reaction to an anesthetic which grants him X-ray vision, as in "seeing through women's clothes." He subsequently overcomes all of his inhibitions, leading to ribald encounters with his dental nurse, his therapist, his secretary, a girl in a bar, etc. Russ Meyer's first feature, produced by Pad-Ram Enterprises (a monogram using the initials of director Russell Albion Meyer and producer Peter A. DeCenzie), the film that basically launched the lighthearted nudie pictures of the early 1960s. At a time when Hollywood moguls were losing audiences to the comfort of in-home cinema through television, Meyer and DeCenzie (who spent years on the burlesque and nightclub circuits) released an independent, naturally sexy endeavor in the tradition of the great Chaplin films. For his debut, Meyer did even more of the crew work than usual, shooting in four days during the spring of 1958 with a budget of $24,000, ultimately making over $1.5 million worldwide. The film was marketed as a "Frenchy," "nudist" film, but exhibited all the distinctive traits for which Meyer would soon become known, including large bosoms, insane plots, an arguably feminist perspective, campy dialogue, and guerilla cinematography. Shot on location in various California destinations, including Malibu Lagoon State Beach. One leaf, bifold. 11 x 17 inches. Very Good plus overall.

First Edition. Large color single-sheet schematic master plan (29" x 2"), folded (11 1/2" x 7 1/2"). Light toning outer panels; splitting starting to three of the folds; else a near fine copy of a rare plan for the Island of Minoo. Only 1 copy located in online institutions. The plan for the Island of Minoo was produced for the Imperial Government of Iran's Ministry of the Interior in the late 1960s with the aim to transform Minoo Island (in the Arvand Rud River, near Abadan, Khuzestan Province, Iran) into a resort-development zone. The Minoo project came to an end following the overthrow of the country's leader, Mohammed Reza Shah. One side details Recommendations, the Master Plan, Financial Development and the Arcaeological and Historical Monuments. The other side shows the drawing of the project, including resort facilities, cultural and educational facilities, entertainment, sports and amusement opportunities, commercial and trade centers, residential development and collateral facilities such as utility plants, medical, office, parking and security functions.

Leather Bound. Condición: New. Language: English. Language: English. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2024, utilizing the invaluable guidance of the original edition published many years ago in 1907. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - English, Pages: : - 63, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. 63 63.