hunter rod (8 Ergebnisse)

Zustand: Very Good. Very Good condition. A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp. Bundled media such as CDs, DVDs, floppy disks or access codes may not be included. NOT AVAILABLE FOR SHIPMENT OUTSIDE OF THE UNITED STATES.

Zustand: New.

Paperback. Zustand: Very Good. Series: ELI Deskbook. 939p very large and oversized blue paperback, laminated card cover, contains article on European environmental law by the authors, sections on legislation and policies concerning air pollution, waste management etc, a firm and clean copy, light library markings, uncommon title Language: English.

Zustand: New. In.

Zustand: New. In.

Vintage studio still photograph from the 1963 film, showing director Alfred Hitchcock's cameo in the film, passing Tippi Hedren in a doorway while walking two small dogs. Hitchcock's last great film, a grim psychological study, made all the more terrifying by the lack of motivation assigned to its violence. Shot in various locations throughout California, including Bodega Bay, Bloomfield, Valley Ford, the Venice Canals, and Union Square in San Francisco. 8 x 10 inches. Near Fine. National Film Registry. Clover, Men, Women, and Chainsaws. Godard, Histoires du cinema.

Vintage borderless reference photograph from the 1963 film, showing director Alfred Hitchcock talking with electronic musician Oskar Sala, who composed the film's iconic soundtrack. Printed mimeo snipe in French affixed to the verso. Hitchcock's last great film, a grim psychological study, made all the more terrifying by the lack of motivation assigned to its violence. Shot in various locations throughout California, including Bodega Bay, Bloomfield, Valley Ford, the Venice Canals, and Union Square in San Francisco. 7.5 x 9.5 inches. Very Good plus. National Film Registry. Clover, Men, Women, and Chainsaws. Godard, Histoire(s) du cinema.

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.