adler harold (18 Ergebnisse)

Paperback. Zustand: Very Good-. 8.4 X 5.5 X 1 inches; 329 pages; Great overall condition. Minor cosmetic wear. No noteworthy blemishes. No writing. Small stain on exterior edge of pages. ; - We offer free returns for any reason and respond promptly to all inquiries. Your order will be packaged with care and ship on the same or next business day. Buy with confidence.

Paperback. Zustand: Good. Reissue Edition. 8.4 X 5.5 X 1 inches; 329 pages; markings and underlining on some pages. Light creasing on the covers and spine. Light smudges and scratches on the exterior edges of textblock. Good condition otherwise. No other noteworthy defects. ; - Your satisfaction is our priority. We offer free returns and respond promptly to all inquiries. Your item will be packaged with care and ship on the same or next business day. Buy with confidence.

paperback. Zustand: Near Fine. Excellent, unmarked copy with little wear and tight binding. We ship in recyclable American-made mailers. 100% money-back guarantee on all orders.

Zustand: New. In.

Zustand: New. In.

Zustand: New. In.

Zustand: New. In.

Zustand: New. In.

Zustand des Schutzumschlags: dj. First Edition. Octavo (24cm.); publisher's cloth in white pictorial price-clipped dust jacket; vi,[2],306pp. A hint of wear and soil to jacket, else Near Fine.

Pamphlet. Zustand: Very Good. First Edition. 20pp.

Buch. Zustand: Neu. Neuware - The Alexander Hamilton Foundation in Washington, D.C. needs someone to escort a Chinese defector from Shanghai, China to America. The defector has vital top-secret security information for America. Lieutenant Commander Pilar Marshall volunteers for this clandestine assignment. At the final pickup point off the coast of Shanghai, a submarine is to collect the defector. Suspense builds as they move through the city to the marina, followed by an unknown watcher. As they are ready to cast off from the dock, the watcher appears with a gun. They scuffle with the watcher who is knocked down. He fired one shot, which hit a member of her team. They escape to the pickup point. To avoid being caught by the Chinese patrol boat, they hide in the coastal fog. Little do they know, there is no submarine to pick them up. A zodiac picks up the group to a waiting U.S. destroyer. One member of the group is a Chinese sleeper spy. The spy accompanies the team to America. In a tense scene, the sleeper spy locates the defector. With dangerous aim, does the assassin accomplish her task.

Zustand: Hervorragend. Zustand: Hervorragend | Sprache: Englisch | Produktart: Bücher | The U.S. Navy needs help locating a renegade submarine in the Pacific Ocean. A World War II German U-boat commander is asked to lend his expertise in hunting down this submarine. He coaches the officers about the sub's possible maneuvers to attack their frigate. Navy frigate USS Barbey is selected to search for the sub. However, with just a skeleton crew, the frigate is plagued with mishaps, including torpedoes fired by the submarine they seek. A Chinese destroyer gets involved demanding the release of the submarine. Naval tensions rise between the destroyer and the frigate. A nearby New Zealand frigate fires a salvo and the Chinese leave the area.The skipper of the USS Barbey is promoted to Captain and sent on another mission advising an Indonesian frigate demanding the Chinese leave one of their islands. A naval battle ensues.Filled with intrigue and excitement, On Dangerous Water is a story of adventure as battling naval ships fight for their right to own the untamable high seas.

Vintage playbill for the 1937 Broadway production, which premiered at the Belasco Theatre on November 4, running for 250 performances. A young, skilled violinist begins working as a boxer in order to pay off his debts, although he risks hand injuries that could end his career as a musician. Basis for the 1939 film adaptation, directed by Rouben Mamoulian and starring Barbara Stanwyck and William Holden. 9 x 12 inches. Six leaves. A hint of toning and wear to the wrappers, else Near Fine.

Zustand: Good. Large format photograph of Nixon with raised arms holding hands with amigos. 16 x 20 inches. Signed and dated by the photographer verso.

Three original draft title card maquettes hand lettered by Harold Adler for the 1979 film. Based on the 1960 novel by Isaac Bashevis Singer. The three sketches show different approaches to the title, all distinct from the final lettering design used. Harold Adler was a calligrapher who created hand lettered titles on over 100 films, worked frequently with Alfred Hitchcock, and was a favorite of legendary title sequence designers Saul Bass and Pablo Ferro. In addition to "The Magician of Lublin" his credits include "Comanche!" (1956), "The Man with the Golden Arm" (1955), "The Seven Year Itch" (1955), "Carmen Jones" (1954), "Psycho" (1960), "The Birds" (1963), "In the Heat of the Night" (1967), and "Finian's Rainbow" (1969). In 2012, an exhibition of Adler's work was organized by noted typographer and design historian Jill Bell at the American Advertising Federation, Kansas City. At the turn of the Twentieth century, a Jewish stage magician and con man, whose career has been ruined by womanizing, gets one more shot at the big time by attempting to pull off a never before seen trick. Two leaves. First leaf: 19 x 18 inches. About Near Fine with creasing to the edges. Two designs, executed in black ink on white paper with a manuscript notation to the side in blue pencil. Second leaf: 15.5 x 5.5 inches. Black ink on white paper. Near Fine, with manuscript annotations in blue pencil.

Archive of three title card maquettes hand lettered by Harold Adler for the 1963 film. Also included are two fascinating autograph letters, both elaborately designed and executed in a calligraphic style, from Adler to author, illustrator, and editor Fridolf Johnson relating to Adler's work with Hitchcock. Harold Adler was a calligrapher who created hand lettered titles on over 100 films, worked frequently with Alfred Hitchcock, and was a favorite of legendary title sequence designers Saul Bass and Pablo Ferro. In addition to "The Birds" (1963), his credits include "Comanche!" (1956), "The Man with the Golden Arm" (1955), "The Seven Year Itch" (1955), "Carmen Jones" (1954), "Psycho" (1960), "In the Heat of the Night" (1967), and "Justine" (1969). In 2012, an exhibition of Adler's work was organized by noted typographer and design historian Jill Bell at the American Advertising Federation, Kansas City. In the first letter, dated May 16, 1986, Adler describes, after touching on other topics, meeting Hitchcock and then presenting him with layout ideas for the titles. He then goes into detail regarding his answer to a question about the techniques of artist Eric Gill, stating that Hitchcock "was amazed" by this answer, and after that would "request 'to be sure to bring that nice you[ng] man along" (meaning Adler) whenever he had a job for Adler's firm. The second letter, dated June 10th, 1986, focuses almost exclusively on Adler's work on "The Birds," going into some detail regarding both the creative and technical processes of producing hand lettered titles for films. He also describes Hitchcock as "an unusual person to work with. He was a master at what he did, knew what he wanted [and] smoked the finest cigars." He then concludes the letter with some brief remarks on how his approach to title lettering evolved over the course of his career. The letters themselves are works of art, executed in a variety of inks in Adler's detailed penmanship, with Johnson's name on each in particular receiving full calligraphic treatment. Also included are draft title cards for the film, stylistically similar to each other, but much different from the titles used in the finished film. Two of the cards are marked as "camera ready" in manuscript colored pencil, with titles executed in white paint on black board. The third card, photo stat on black paper, which accompanied the June 10th letter, has been annotated by Adler on both the recto and verso, explaining the in more detail the technical process of putting the lettering on film. Overall, a significant collection of material illuminating a little explored aspect of film design, with a direct and significant connection to a seminal work by a director known for personally overseeing all aspects of production. Each letter 19 x 24 inches, single leaf, rectos only. May 16th letter folded twice for mailing, June 10th letter folded. Two long diagonal creases to the May 16th letter, else both are Fine. Original mailing envelope for the May 16th letter included. "Camera ready" title cards 22 x 14 inches. Lightly rubbed and about Near Fine. Third card 18 x 4 inches. Near Fine. National Film Registry. Clover, Men, Women, and Chainsaws. Godard, Histoires du cinema.

Original title card maquette hand lettered by Harold Adler for the 1969 film. Based on the "Alexandria Quartet" by Lawrence Durrell. Harold Adler was a calligrapher who created hand lettered titles on over 100 films, worked frequently with Alfred Hitchcock, and was a favorite of legendary title sequence designers Saul Bass and Pablo Ferro. In addition to "Justine" his credits include "Comanche!" (1956), "The Man with the Golden Arm" (1955), "The Seven Year Itch" (1955), "Carmen Jones" (1954), "Psycho" (1960), "The Birds" (1963), "In the Heat of the Night" (1967), and "Finian's Rainbow" (1969). In 2012, an exhibition of Adler's work was organized by noted typographer and design historian Jill Bell at the American Advertising Federation, Kansas City. A young British schoolmaster and poet travels to Alexandria, where he meets Justine, the mysterious wife of a banker, whom he discovers is involved in a plot to arm the Jewish underground in Palestine. Shot, in part, on location in Tunisia. 17.25 x 11.5 inches. Black ink on white card stock, with tissue paper overlay. Near Fine, with light toning to the card edges. Manuscript annotations, one noting "original," to the tissue overlay and card.

Original title card maquette hand lettered by Harold Adler for the 1969 film. Harold Adler was a calligrapher who created hand lettered titles on over 100 films, worked frequently with Alfred Hitchcock, and was a favorite of legendary title sequence designers Saul Bass and Pablo Ferro. In addition to "The Fantastic Plastic Machine" his credits include "Comanche!" (1956), "The Man with the Golden Arm" (1955), "The Seven Year Itch" (1955), "Carmen Jones" (1954), "Psycho" (1960), "The Birds" (1963), "In the Heat of the Night" (1967), and "Finian's Rainbow" (1969). In 2012, an exhibition of Adler's work was organized by noted typographer and design historian Jill Bell at the American Advertising Federation, Kansas City. A key early documentary on surfing, shot in California, Hawaii, Australia, New Zealand, and Fiji, and its intersection with the Summer of Love, and the youth culture surrounding it near the end of the 1960s. The Blum brothers' only film credit, narrated by Jay North ("Dennis the Menace"). 22 x 13.75 inches. Black ink on white card stock, with tissue paper overlay. Near Fine, with light toning to the card edges, tissue paper chipped at the edges. Manuscript annotations, including Adler's signature, to the tissue overlay and card.