65 résultats
1986260587New York: Rizzoli 1986. First. hardcover. fine/fine. Photographs by Paolo Marton. profusely illustrated with 463 images most in color. 513 pages. Very thick square folio purple gilt-lettered cloth d.w. New York: Rizzoli 1986. First American edition. A fine copy in a fine dust wrapper.<br/><br/> Rizzoli unknown books
1993116558Lisboa Lisbon Portugal: Museu Calouste Gulbenkian 1993. Softcover. VG but for light sunning to page and cover edges;. White wraps with color-illustrated cover; protective cover; 111 pp. with 20 works pictured in color and bw;. Text in both Portuguese and English; works are in large color plates with Portuguese descriptions followed in the back by small bw reproductions with English translations of descriptions; includes an index of the works and an essay;. Museu Calouste Gulbenkian paperback books
1996103995New York: Harry N. Abrams 1996. First edition. Hardcover. First printing. Monograph with 399 illustrations including 52 in color. Photographs by Albert Hirmer and Irmgard Ernstmeier-Hirmer. Translated from the German by Russell Stockman. A comprehensive look at Michelangelo's work. A very near fine copy in very near fine dust jacket. Harry N. Abrams unknown books
1821010601Milano: Giovanni Silvesrti. Very Good. 1821. Hardcover. Original three-quarter red leather over marbled paper. Rubbed and bumped edges a few scratches in leather and sunning on spine. Gilt imprint. Soil on edges glue toning of endpapers. A small bookseller's label and previous owner's name are on the front pastedown endpaper and a penciled note on Michelangelo is on the last free endpaper with one rubbed out area on the first free endpaper. Interior clean. Frontis portrait xxvi 1-352. Prose and verse of Michelangelo with some commentary and biography by Count Giammaria Mazzuchelli. ; 6 1/2" x 4 1/2"; 352 pp . Giovanni Silvesrti hardcover books
2005243720Pomona: Kelly-Winterton Press 2005. Paperback. 115p. very good limited edition of 150 copies printed by letterpress on Fabriano Paper from several typefaces designed by Robert Slimbach with typography by Jerry Kelly decorative green paper wraps with paper spine label. Kelly-Winterton Press paperback books
19665202New York. George Braziller. n.d. 1966 Bound in 1/2 brown morocco and cloth covered boards.Raised bands. Gilt titles.Original cloth and paper slipcase. Thick Folio. Illustrated with facsimile plates of the artist's drawings most fold-out and tissue guarded. A lovely and concise compilation of Michelangelo's drawings handsomely presented. Mild wear to spine else Fine in scuffed but Very Good slipcase. George Braziller. hardcover books
1976134986Rome: Produzioni Europee Associati PEA 1976. Vintage oversize double weight photograph of Donald Sutherland and Cicely Browne getting it on in high style in the 1976 film. <br/><br/>Cattarinich did still photography work for many interesting and prominent directors in the 1970s and 1980s including Pedro Almodovar Joe D'Amato Marco Ferreri and Pier Paolo Pasolini among others. <br/><br/>Producer Dino De Laurentiis saw Robert Redford in the role of Casanova but Fellini refused to cast him. When De Laurentiis bowed out of the project and Fellini signed a new contract with producer Alberto Grimaldi Sutherland was cast in the role requiring that he shave his head and wear both prosthetic nose and chin. <br/><br/>Fellini had to re-shoot parts of this movie including the elaborate Venice carnival scene when approximately seventy reels of film-including the first three weeks of shooting-were stolen at the Technicolor labs of Tiburtino Rome on August 27 1975. Also stolen were portions of Pasolini's "Salo or the 120 Days of Sodom" and Damiano Damiani's Euro Western "A Genius Two Partners and a Dupe."<br/><br/>11.5 x 7.75 inches. Fine. Produzioni Europee Associati [PEA] unknown books
17061255159Rome: Gaeteno degli Zenobj 1706. Hardcover. Tall quarto rebound in 1/2 light blue and beige moire with brown leather spine; VG; 6-band embossed spine with gold letters; bookplate to front pastedown; original paper slightly wobbled and faded; text clean; pp. 63 followed by 75 plates and large folded charts; in Italian; shelved in Case 4. 1255159. Shelved Dupont Bookstore. Gaeteno degli Zenobj hardcover books
181814402Roma: Nella Stamperia Salvioni si vende nella Libreria di Giambatista Petrucci 1818. 12mo 20 cm 7.9". xii 296 pp. <br><br>Uncommon second corrected edition of a work originally printed in 1786 here in an uncut copy in the original wrappers. Prunetti the author of several works on painting and art offers his thoughts on the great paintings of Rome the artistic techniques used in their creation and how to judge them along with brief lives of the most prominent Italian painters. . Uncut copy. Original paper wrappers spine with hand-lettered paper label. Early inked owner's inscription on front free endpaper; one early inked shouldernote. Some pages with faint hint of foxing most clean. A very good copy. Nella Stamperia Salvioni, si vende nella Libreria di Giambatista Petrucci unknown books
17838Michelangelo. Edited by Cesare Guasti. CXXXV pp. introductory text 367 pp. transcriptions of the poems copious notes indices 2 facsimile plates. 4to. Orig. printed wrpps. somewhat worn and rubbed. Florence Le Monnier 1863. The fine scholarly edition of Michelangelo's poems by the noted historian and critic of Florentine art. unknown books
1960138792Italy: Nepi Film 1960. Vintage borderless photograph from the set of the 1961 film. A candid aerial photograph of Mastroianni Moreau and two other cast members conversing around a table. With a stamp for Telecine and a few annotations on the verso. <br/><br/>The second film in the trilogy that begins with "L'Avventura" 1960 and ends with "L'Eclisse" 1962. Shot on location in Milan. <br/><br/>Probably no one has ever said it better than Bosley Crowther who reviewed the film for the New York Times in 1961: "Too sensitive and subtle for apt description are Antonioni's pictorial fashionings of a social atmosphere a rarefied intellectual climate a psychologically stultifying milieu-and his haunting evocations within them of individual symbolisms and displays of mental and emotional aberrations. Even boredom is made interesting. There is for instance a sequence in which a sudden downpour turns a listless garden party into a riot of foolish revelry exposing the lack of stimulation before nature takes a flagellating hand. Or there's a shot of the crumpled wife leaning against a glass wall looking out into the rain that tells in a flash of all her ennui desolation and despair."<br/><br/>9.5 x 7.5 inches. Near Fine. In a custom museum-quality frame archivally mounted with UV glass. <br/><br/>Criterion Collection 678. Eureka Masters of Cinema 61. Nepi Film unknown books
1960134674Rome: Cino del Duca 1960. Vintage oversize double weight borderless glossy press photograph by Enrico Appetito from the 1960 film. Bold notation on the verso noting that the photograph is from the archives of the French cinephile magazine "Cinema 60."<br/><br/>The first film in Antonioni's famed trilogy followed by La Notte and L'eclisse. A classic scene from the film from the section shot on location in Rome where actresses Lea Massari and Monica Vitti stare wonderingly at the soulless void before them. <br/><br/>9.25 x 11.75 inches. Near Fine. <br/><br/>Criterion Collection 98. Cino del Duca unknown books
1975137579N.p.: N.p. 1975. Archive of 15 single weight and 20 double weight vintage press photographs of Maria Schneider at the 1975 Cannes Film Festival there to promote Michelango Antonioni's Palme d'Or nominated "The Passenger" in which she starred opposite Jack Nicholson. Eight photographs with stamps of photographers Leo Mirkine Prisco de Majo and Daniel Angeli four two and two photographs respectively on the verso. <br/><br/>The archive shows three distinct events during the festival as well as other candid and posed images of Schneider. These include the premiere of the film a press conference and a party on a boat. Numerous photographs also feature Antonioni and co-star Jenny Runacre. Sadly Nicholson is nowhere to be found we assume because he was too busy hanging out with Ken Russell and The Who as "Tommy" was screening out of competition. <br/><br/>Other photographs show Schneider with Bernardo Bertolucci who had directed her to instant stardom three years earlier in "Last Tango in Paris" as well as a single photograph of Schneider with Dustin Hoffman starring in the also Palme d'Or nominated "Lenny" directed by Bob Fosse. <br/><br/>Also included in the archive are four large negatives of photographs from the archive a strip of five negatives of a beach and two strips of color negatives containing four and five images respectively as well as three large negative of what appears to be a photoshoot of Schneider at the beach. These images are distinct from the photographs in the archive and we can find no corresponding images online. <br/><br/>Photograph sizes vary between 9.5 x 7.25 and 8 x 12 inches with most being 10 x 8 inches. Near Fine. N.p. unknown books
1960133246Italy: Nepi Film 1960. Vintage oversize double weight borderless photograph from the 1961 film. A candid on-the-set photograph of director Michelangelo Antonioni cinematographer Gianni Di Venanzo Jeanne Moreau and others working on a balcony shot part of the long party sequence that makes up the last third of the film. <br/><br/>The second film in the trilogy that begins with "L'Avventura" 1960 and ends with "L'Eclisse" 1962. Shot on location in Milan. <br/><br/>Probably no one has ever said it better than Bosley Crowther who reviewed the film for the New York Times in 1961: "Too sensitive and subtle for apt description are Antonioni's pictorial fashionings of a social atmosphere a rarefied intellectual climate a psychologically stultifying milieu-and his haunting evocations within them of individual symbolisms and displays of mental and emotional aberrations. Even boredom is made interesting. There is for instance a sequence in which a sudden downpour turns a listless garden party into a riot of foolish revelry exposing the lack of stimulation before nature takes a flagellating hand. Or there's a shot of the crumpled wife leaning against a glass wall looking out into the rain that tells in a flash of all her ennui desolation and despair."<br/><br/>In a custom museum-quality frame archivally mounted with UV glass. 9 x 12 inches. Near Fine. <br/><br/>Criterion Collection 678. Eureka Masters of Cinema 61. Nepi Film unknown books
162367330Rime di Michelagnolo Buonarroti Now Hailed a Classic in Modern Gay Literature MICHELANGELO BUONAROTTI. Rime di Michelagnolo Buonarroti. Raccolta da Michelagnolo suo Nipote. Florence: Appresso i Giunti 1623. First edition. Small quarto 9 1/4 x 6 1/4 inches. 12 88 pp. Woodcut device on title-page decorative woodcut head- and tail-pieces and initials typographic ornaments throughout. Uncut and bound in modern full brown speckled calf decoratively blindstamped on covers gilt-stamped on spine with five raised bands. Minimal foxing throughout. We read in the preface that the intent of Michelangelo's heirs was to publish a definitive volume of verses as an antidote to the many spurious editions produced since his death. Michelangelo's grandnephew goes on to say that these verses were in large part taken from a manuscript in the Vatican Library most of which is in his granduncle's hand. While this book is now hailed as a classic in modern gay literature for many years this was not the case due to some creative editing by Michelangelo the Younger. The homoeroticism of Michelangelo's poetry was obscured when his grand nephew Michelangelo the Younger published an edition of the poetry in 1623 with the gender of pronouns changed from male to female. John Addington Symonds reclaimed Michelangelo's homoeroticism by translating his sonnets into English and writing a two-volume biography and publishing it in 1893. "But when the queer art historian John Addington Symonds was granted access to the Buonarroti family archives in Florence in 1863 he discovered a note written in the margin of the poems by MichelangeloÃs grand-nephew called Michelangelo the Younger saying that the poems must not be published in their original form because they expressed ëamor .†.†. virileà literally ëmasculine loveà a Renaissance polite euphemism for paiderastia better translated as ëmaleñmale desireÃ. Symonds thus was able to make public the fact that when Michelangelo the Younger prepared his great-uncleÃs poetry for posthumous publication in 1623 he had changed all the masculine pronouns in the love poems to feminine pronouns thus ensuring that any sentiments in the poems that could not be interpreted as being merely platonic would at least be interpreted as being normal i.e. heterosexual" Rictor Norton. This edition was printed by one of the most famous printers of their day the Giunti family whose device on the title page included the Florentine giglio or lily. These fine productions are still known to book collectors as "Giuntine." Gamba 248. HBS 67330 $5000 Appresso i Giunti hardcover books
