Waldo Jon (8 results)

Soft cover. Condition: Very Good. Very Good condition softcover academic journal. Spotless inside and out. Spine is not creased. A little wear to the back cover including one light crease, one bent corner tip (also affecting the last 20 or so pages), slight roughness to edges and a tiny chip out of the lower right corner. The rest of the volume is just about like new. Will be bubble-wrapped and carefully packed in a sturdy box to ensure safe delivery. This issue includes: "President Kennedy's National Security Policy: A Reconsideration" by Anna Kasten Nelson; "Laboring in Colonial America" by Farley Grubb, a review of Work and Labor in Early America by Stephen Innes, ed."; "Scottish Communions, American Revivals" by Susan Curtis, a review of Holy Fairs: Scottish Communions and American Revivals in the Early Modern Period by Leigh Eric Schmidt; "A Desperate Attempt to Fabricate Order" by Robert M. Calhoon, a review of Awash in a Sea of Faith: Christianizing the American People by Jon Butler; "Talking and Reading in Early America" by John L. Brooke, a review of Knowledge is Power: The Diffusion of Information in Early America, 1700-1865 by Richard D. Brown; "The World the Slave Traders Made: Is There a Postrevisionism in Slavery Historiography?" by David W. Blight, a review of Speculators and Slaves: Masters, Traders, and Slaves in the Old South by Michael Tadman; "Everything for Your Urban 'Imaging Needs'" by Patricia Nelson Limerick, a review of New Towns in the New World: Images and Perceptions of the Nineteenth-Century Urban Frontier by David Hamer; "Containing the Gilded Age Mob" by Gregory Bush, a review of America's Armories: Architecture, Society, and Public Order by Robert Fogelson; "Old Wine in New Bottles: Photography and the American Myth" by Lary May, a review of Reading American Photographs: Images as History, Mathew Brady to Walker Evans by Alan Trachtenberg; "As Pennsylvania Goes, So Goes the American Working Class?" by David A. Zonderman, a review of Trade Union Gospel: Christianity and Labor in Industrial Philadelphia, 1865-1915 by Ken Fones-Wolf, Another Civil War: Labor, Capital, and the State in the Anthracite Regions of Pennsylvania, 1840-68 by Grace Palladino and 'The Lower Sort': Philadelphia's Laboring People, 1750-1800 by Billy G. Smith; "Professional Progressives" by Lois Scharf, a review of Endless Crusade: Women Social Scientists and Progressive Reform by Ellen Fitzpatrick; "Knowledge for What? The Place of Private Philanthropy in American History" by Donald T. Critchlow, a review of The Politics of Knowledge: The Carnegie Corporation, Philanthropy, and Public Policy by Ellen Condliffe Lagemann; "Oliver Wendell Holmes and American Liberalism" by Richard M. Abrams, a review of Honorable Justice: The Life of Oliver Wendell Holmes by Sheldon M. Novick; "Corporate Hubris" by Stanley Coben, a review of The Corporate State and the Broker State: The Du Ponts and American National Politics, 1925-1940 by Robert F. Burk; "Baseball for Everybody" by Charles C. Alexander, a review of Baseball: The People's Game by Harold Seymour; "A Very Peculiar Business" by Jules Tygiel, a review of The Baseball Business: Pursuing Pennants and Profits in Baltimore by James Edward Miller and The Business of Major League Baseball by Gerald W. Scully; "Sino-American Historians and Sino-American Realities" by Robert L. Beisner, a review of Sino-American Relations, 1945-1955: A Joint Reassessment of a Critical Decade by Harry Harding and Yuan Ming, eds.; "Playing for the Split" by Waldo Heinrichs, a review of Friends and Enemies: The United States, China, and the Soviet Union, 1948-1972 by Gordon H. Chang; and "Understanding the CIA" by Charles E. Neu, a review of The Agency: The Rise and Decline of the CIA by John Ranelagh plus The Perfect Failure: Kennedy, Eisenhower, and the CIA at the Bay of Pigs by Trumbull Higgins plus The CIA and American Democracy by Rhodri Jeffrey-Jones and America's Secret Power: The CIA in a Democratic Society by Loch K. Johnson.

Magazine. Condition: Very Good. First Edition. The front cover has the previous owner's mailing label. Articles include - MARGARET MITCHELL'S LOST MANUSCRIPT, PHOTOGRAPHS AND LETTERS BY DEBRA FREER, HIS AMERICAN ROOTS ARE SHOWING (JON WALDO) BY EDWARD GOMEZ, FIFTIES FURNITURE BY CARA GREENBERG, WHISTLER IN RETROSPECT BY RICHARD COVINGTON, MILLIENIUM OF AMERICAN ART, COLLECTING IN BANGKOK.

Vintage reference photograph from a 1980 re-release of the 1969 film. Based on the 1965 novel by James Leo Herlihy, about the unlikely friendship between a would-be gigolo and an ailing con artist. Cornerstone film of the New Hollywood cinema, nominated for seven Academy Awards, winning Best Screenplay, Best Director, and Best Picture. Set in New York City, shot on location in Miami, Manhattan, and Big Spring, Texas. 10 x 8 inches. About Fine. National Film Registry.

Two vintage reference photographs from the 1978 film, one showing Jane Fonda and Jon Voight, the other showing Fonda and Bruce Dern. A key Vietnam-era film, and one of noted director Hal Ashby's finest efforts. Ostensibly a war film, "Coming Home" is really more about the lives of the women left behind during the war, tracking the progress of a housewife who finds herself unexpectedly liberated in her husband's absence, falling into an affair with a wounded veteran. Winner of three Academy Awards, including Best Screenplay, and nominated for five others, including Best Picture and Best Director. Nominated for the Palme d'Or. 8 x 10 inches. About Fine.

Draft script for the 1978 film. Copy belonging to Lucile Jones, credited in the film as a "friend who did everything," with her first name in manuscript ink on the title page. Laid in with the screenplay are three photographs from the set of the film: one black-and-white studio still photograph showing actors Bruce Dern and Jane Fonda, and two borderless color reference photographs of director Hal Ashby with an unknown woman (possibly Jones) on the set. A key Vietnam-era film, and one of noted director Hal Ashby's finest efforts. Ostensibly a war film, "Coming Home" is really more about the lives of the women left behind during the war, tracking the progress of a housewife who finds herself unexpectedly liberated in her husband's absence, falling into an affair with a wounded veteran. Winner of three Academy Awards, including Best Screenplay, and nominated for five others, including Best Picture and Best Director. Nominated for the Palme d'Or. Screenplay: Red titled wrappers. Title page present, with credits for screenwriters Waldo Salt and Bob Jones and director Hal Ashby. 134 leaves, with last page of text numbered 132. Xerographic duplication, rectos only, with four blue revision pages, dated 1/3/77. Pages Near Fine, wrapper Near Fine, bound with two gold screw brads. Photographs: Two 7 x 5 inches, one 8 x 10 inches. Near Fine.

Draft script for the 1969 film. Copy belonging to the film's still photographer Ron Munkasci, with his name in red manuscript ink at the top right corner of the title page. Based on the 1965 novel by James Leo Herlihy about an unlikely friendship between a would-be gigolo and an ailing con artist. Cornerstone film of the New Hollywood cinema, nominated for seven Academy Awards, winning Best Adapted Screenplay, Best Director, and Best Picture. Set in New York City, shot on location in Miami, Manhattan, and Big Spring, Texas. Dark blue titled wrappers, noted as DRAFT SCREENPLAY at the bottom right, and with the logo for JEROME HELLMAN PRODUCTIONS at bottom center. Title page present, with credits for screenwriter Waldo Salt, novelist James Leo Herlihy, producer Jerome Hellman, and director John Schlesinger, noted as "A JEROME HELLMAN-JOHN SCHLESINGER PRODUCTION." 122 leaves, with last page of text numbered 121. Mimeograph duplication, rectos only. Pages Near Fine with some offsetting to the title page due to a newspaper clipping (still present) laid in, wrapper Very Good plus. National Film Registry.

Vintage studio still photograph from the 1969 film, showing actors Jon Voight, Paul Rossilli, Viva, and Dustin Hoffman. French distributor stamp on the verso. Based on the 1965 novel by James Leo Herlihy. One of the earliest films to receive an X rating and the only X-rated release to ever win an Academy Award for Best Picture, also winning for Best Director and Best Screenplay. Nominated for four other Academy Awards, including Best Actor for both Hoffman and Voight, and Best Supporting Actress for Sylvia Miles. Set and shot on location in Big Spring, Texas, New York City, and Miami, Florida. 10 x 8 inches. Very Good plus, with pinholes at the corners. National Film Registry.

Vintage black-and-white borderless reference photograph from the US release of the 1969 film. Jon Voight plays a naive Texan who moves to New York to hustle his body and finds himself in an unlikely friendship with an ailing con artist played by Dustin Hoffman. Winner of three Academy Awards including Best Picture, and nominated for four others. Set in New York and Texas, shot on location in New York, Texas, Florida, and New Jersey. 8 x 10 inches. Fine. In a custom museum-quality frame, archivally mounted, with UV glass. National Film Registry.