lahr jack l (7 risultati)

Hard Cover. Condizione: Good +. No Jacket. First Edition. A survey of the Law of Patents, Trade Secrets, Trademarks, Franchises, Copyrights, and Personality and Entertainment Rights. 539 pages. Black boards with silver gilt lettering are scuffed with trace of edgewear. Pages are clean & text is free from markings. Binding is tight. Size: 8vo - over 7¾" - 9¾" tall.

hardcover. Condizione: 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!

Hardcover. Condizione: Very Good. Condizione sovraccoperta: Good. Signed by Author(s).

Condizione: Very Good. Signed Copy . Good dust jacket. Inscribed by Earl W. Kintner on front endpage.

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. Condizione: 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.

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.