Lombardia, Miguel AngelBiblio.com
1 932 résultats
1984196261984. Guaflex editorial. unknown
2003Q-0226503380University of Chicago Press 2003-01-01. Hardcover. New. In shrink wrap. Looks like an interesting title! University of Chicago Press hardcover
1948615724Buenos Aires: Editorial Losada 1948. Softcover. Very Good/Very Good. First Argentinean edition. 12mo. Printed wrappers in dust jacket. Pages tanned a few inked notes in text and a one-page manuscript "CronologÃa" on a rear blank very good in a spine-sunned very good dust jacket with several small chips and a bit of light internal staining that doesn't show through. Nicely Inscribed to an important Latin American literary critic on the half-title: "al escritor Emir RodrÃguez Monegal con mi recurdo afectuosa Migual Ãngel Asturias. Montevideo. Febrero 1949." Issued here as part of the series Biblioteca Contemporánea. One of the Nobel laureate's most important novels with a nice association. Editorial Losada unknown
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
1961167658N.p.: N.p. 1961. Five vintage borderless reference photographs from the 1961 film including one oversize photograph showing director Michelangelo Antonioni and a camera crew on the set. French and numeric annotations in manuscript ink and pencil on the versos.<br /> <br /> The second film in Antonioni's trilogy that begins with "L'Avventura" 1960 and ends with "L'Eclisse" 1962.<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 /> Set and shot on location in Milan.<br /> <br /> Four photographs 9.5 x 7 inches one 12.5 x 9.5 inches. Very Good plus. <br /> <br /> Criterion Collection 678. Eureka Masters of Cinema 61. N.p. unknown
1975310777NY: GROVE PRESS. Fine with no dust jacket. 1975. First Edition; First Printing. Softcover. First edition. Paperback original. SIGNED on rear inside cover by director Michelangelo Antonioni on a neatly tipped-in card. Also SIGNED on a tipped-in card on the front inside cover by the film's star Jack Nicholson. About fine in mass narket-size pictorial printed wrappers. B . GROVE PRESS. paperback
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
198976540Distribuciones Los Horreos 1989. Distribuciones Los Horreos unknown
1983765411983. unknown
1966196421966. Antonioni Michelangelo director. Blow-Up 1966 examines perception photography and uncertainty within the cultural landscape of 1960s London placing a fashion photographer at the center of a narrative involving a possible murder captured unintentionally on film. As Antonioni's first English-language production the film situates itself within the visual and social environment of the London "mod" scene integrating fashion music and youth culture into its structure. Its treatment of sexuality and ambiguity contributed to the erosion of the Hollywood Production Code and preceded the establishment of the Motion Picture Association of America rating system marking the film as part of a broader shift in cinematic regulation and content standards. Awarded the Palme d'Or at the Cannes Film Festival the film occupies a central place in discussions of postwar European art cinema and the changing boundaries of representation.<br /> <br /> Blow-Up. Metro-Goldwyn-Mayer: United States 1966. Archive of six original promotional photographs issued for theatrical display ranging in size from approximately 6.5 x 8 to 8.75 x 11 inches including three color and three black and white prints. Images depict scenes from the film including interactions between Vanessa Redgrave and David Hemmings and views of Hemmings' Rolls-Royce emphasizing both character dynamics and the material culture of the London setting. Black and white photographs include production and photography information on the verso while color prints feature the film title actor names and MGM logo along the lower margin.<br /> <br /> Produced during a period of rapid transformation in film aesthetics and censorship standards Blow-Up aligns with broader developments in 1960s cinema that prioritized ambiguity visual experimentation and contemporary urban life. Its focus on the act of looking and the instability of photographic evidence reflects wider cultural concerns with media surveillance and reality during the decade. Promotional materials such as these photographs document how studios presented avant-garde narrative and stylistic elements to mainstream audiences bridging commercial exhibition and art cinema discourse. Minor handling wear with one photograph showing faint pinholes; overall very good to excellent condition. unknown
1971009639New York: Doubleday & Co. 1971 New York: Doubleday 1971. Stated first edition. White pictorial boards dustjacket. Asturias was the winner of the 1967 Nobel Prize for Literature. A neglected Nobel laureate Asturias a Guatemalan novelist is thought to be the "father" of "magic realism". Doubleday & Co. hardcover
1988014516Verso Books. Unclipped DJ in archival cover minor edge wear. . Fine. Hardcover. 1988. Verso Books hardcover
185053296Torino: Stab. Fontana 1850. In-4 p. mm. 323 x 229 3 volumi mz. pelle coeva decorazioni e titolo oro al dorso pp. 216; 208; 2202; incluse 3 belle antiporte allegoriche; ornato da pregevoli grandi iniziali figurate e finali incise su legno; illustrato da 305 su 306 bellissime tavole caricaturali incise in rame non firmate. Straordinaria opera di satira politica soprattutto contro il Papato la Francia e l'Austria. L'Autore già comproprietario e articolista del "Don Pirlone" caduta la Repubblica Romana fuggi' a Torino dove pubblicò la presente opera mantenendone lo stile satirico che aveva fatto la fortuna del giornale romano. "Prima edizione" rara e molto ricercata. Cfr. Inventario Raccolta Bertarelli "Risorgimento Italiano"I6395.Esemplare con lievi fioriture peraltro in buono stato. Stab. Fontana, unknown
65820Firenze Florence: Appresso Domenico Maria Manni 1726. Small 8vo. 16 x 10 cm. pp.xxx1923. Near contemporary full vellum spine with gilt lettering and old shelf label marbled endpapers to pastedowns edges dyed blue. Charming wood-cut vignettes throughout. Old ownership inscription to title-page Melchior Magius Romae C.A.C 1727 an additional later inscription dated 1844 to flyleaf. Some faint spotting and toning generally a very good example. Michelangelo Buonarroti was a prolific poet writing over 300 poems including sonnets madrigals and epigrams during his lifetime. Michelangelo's poetry often overshadowed by his monumental visual art was deeply romantic intensely personal and frequently controversial due to its homoerotic themes and intense emotional expressions. Largely dedicated to young men with the most famous recipient being the Roman nobleman Tommaso dei Cavalieri these poems represent one of the first known examples in high art of a man openly declaring his passion for another in a confessional manner. This edition contains essays humanist Benedetto Varchi and Mario Guiducci apologist for Galileo. Firenze [Florence]: Appresso Domenico Maria Manni, 1726. hardcover
85270Florenz «A spese dell’editore» 1852. Gr.8° 1 Bl. Impressum Titelbl. XII 151 S. Priv.-HLwd. d. Zt. m. goldgepr. Rückenschildchen Rücken min. fleckig Deckel min. beschienen Exlibris a. Innendeckel Papier tlw. etw. gebräunt von rosa ausgeblichen u. min. stockfl. - Exemplar m. unterschiedlicher Bogengrösse Druck oben und innen zentriert: allg. gutes Ex. «Una ristampa della edizione fattane già nella Etruria» etw. verbessert. Ex. Nr. 3/65 von Pietro Fanfani im Impressum signiert. 010 Florenz, «A spese dell’editore», 1852 unknown
196031839Torino: Galatea 1960. Two pinholes to front panel; thus close to near fine. Scarce with single OCLC record located worldwide Reina Sofia. Octavo. Bifolium catalogue from Michelangelo Pistoletto's first exhibition of paintings Mar. 30 - Apr. 15 1960. With descriptive list of 20 exhibited works accompanied by an insightful commentary from Luigi Carluccio—positioning Pistoletto as against-the-grain for his post-War commitment to figuring the human body. Front panel illustrated with a striking tipped color plate. Torino: Galatea unknown
28232Mantua Italy : Edizioni Corraini 2005. Small quarto 250 x 180 mm pp. 32 printed on diecut aluminium leaves spiral bound in publisher's original cardboard slipcase. Limited to 700 copies signed and numbered by the artist. Text in English and Italian. An as new copy very fine. A striking artist's book / private press production printed entirely on aluminium sheets which accompanied Pistoletto's exhibition of the same name where he created six large scale dining tables out of steel conceived as meeting point for the cultures and nations bordering the seas. ""Understanding and accepting the Other is the most threatening dare that recent history challenges us"" says Angela Vettese editor of this book. Michelangelo Pistoletto picks up this dare and shows us six ""dining tables of cultures"" projected thinking at the form of the seas that link different people landscapes and cultures: from Mediterranean sea to Baltic from South China sea to Caribbean sea without forgetting Black and Red sea. If a sea joins an island can be the setting of a world in which art claims a responsible change in society: in San Servolo island near Venice the italian artist presented Cittadellarte some installations that show a different social structure in politics communication works economics and so on. Even the book's construction reflects Pistoletto's sensibility towards nature: every page included cover are made of aluminium. Some of these are punched and like open doors show the concepts on which is based the new civilization pushed by Cittadellarte. 'Michelangelo Pistoletto is an Italian painter performance artist and theorist. Best known for his innovative stainless steel paintings with mirror-like surfaces he also produced pioneering performance art and sculptural installations. He maintained a lifelong interest in the use of humble and discarded materials and at the height of his career was considered one of the stars of the Italian art movement Arte Povera. Born on June 25 1933 in Biella Italy he studied art while apprenticing at his father’s restoration workshop and in 1960 mounted his first solo show of figurative paintings and portraits at the Galleria Galatea in Turin. He rose to international prominence with his sculpture series Minus Objects1966 which includes a set of columns and a two-dimensional table and chairs. The work along with a series of mirror paintings was awarded first prize in the São Paulo Biennale. Growing increasingly reclusive over time Pistoletto withdrew his work from the Venice Biennale in 1968 due to the student riots. He has had solo exhibitions in institutions around the world notably including the Tate Modern in London and the Guggenheim Museum in New York. He lives in Turin Italy.' - Artnet http://www.artnet.com/artists/michelangelo-pistoletto/ unknown
BN86164Leuven/Louvain B University Press. Sporen in Belgie. 175 Jaar Spoorwegen - 75 Jaar NMBS. <br/><br/> Leuven/Louvain (B), University Press unknown
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
201581697Skel-art 2015. Skel-art unknown
20172-1634856899Nova Science Pub Inc 2017. Hardcover. New. 1st edition. 279 pages. 10.00x7.00x0.75 inches. Nova Science Pub Inc hardcover
5192Simil piel color verde letras doradas nueva. unknown
199177915New York:: Alfred A. Knopf 1991. First edition; No. 440 of 2500 copies. publisher's cloth with gilt-lettered leather labels on spines; in publisher's slipcase. Small brown spot to the cloth of one volume; otherwise both volumes fine. Two oversized folio volumes. Illustrated throughout from photographs in color. Additional postage applicable: two very large very heavy volumes. Alfred A. Knopf, hardcover
1950345644London: Vision 1950. Hardcover. Very Good. Small octavo. Corners a bit bumped a very good copy without dustwrapper. Bookplate of Leonard and Esther Baskin on the front pastedown and an inscription dated in 1951 to Lennie from "the Estys" presumably Bill and Molly Esty. Baskin a bookplate for the Estys. From the library of the artists Ben Shahn and Bernarda Bryson Shahn with an estate label designed by their son Jonathan Shahn. Presumably Baskin gave the book to his sometimes collaborator Shahn. Vision hardcover
1997Alibris.0006709lannoo. 1997. Hard cover. Fine in very good dust jacket. 699 p. Includes: illustrations index bibliography. lannoo hardcover
