STOCKHAM, MartinMareMagnum
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Prefazione di David Korda. Testo di Martin Stockham. Numerose fotografie in bianco e nero. Bibliografia . 4to (cm 28,5x24). pp. 128. . Molto buono (Very Good). . Prima edizione (First Edition). . The thirty-three films in the Korda Collection represent Alexander Korda's most prolififc perioda s a producer/director. Between 1933 and 1948, Alexander Korda rose to become the most influencial force in the British film industry. With detailed critiques of Korda's classic films, a comprehensive biography of Sir Alexander Korda, and over 70 magnificent new still produced from the original camera negatives – many of wich have never before been published – The Korda Collection is a book every film enthusiast will want to posses. I trentatré film della Collezione Korda rappresentano il periodo di maggior proliferazione di Alexander Korda come produttore/regista. Tra il 1933 e il 1948, Alexander Korda è diventato la forza più influente dell'industria cinematografica britannica. Con una critica dettagliata dei film classici di Korda, una biografia completa di Sir Alexander Korda e oltre 70 nuovi magnifici negativi prodotti a partire dai negativi originali - molti dei quali non sono mai stati pubblicati prima - la Collezione Korda è un libro che ogni appassionato di cinema vorrà possedere.
In ottime condizioni, spedizione tracciata
In ottime condizioni, spedizione tracciata
pp. (xvii), 113 (1). Small folio. Designed, printed, and bound by Ward Ritchie. Set in Intertype Waverly; on Linweave Paper, deckle edged. Bound in paper boards decorated by the artist, backed in brown cloth. Slipcase covered in rice paper, slightly soiled. Number 769 of an edition limited to only 1500 copies, signed by the artist. A fine example. From Wiki: The story is told in the first person by John Wiltshire, a British copra trader on the fictional South Sea island of Falesá. Upon arriving on the island, he meets a rival trader named Case, who (in an apparently friendly gesture) arranges for him to be "married" to a local girl named Uma in a ceremony designed to impress the natives but to be completely non-binding in the view of Europeans. Wiltshire soon discovers that Uma has a taboo attached to her which causes all the other natives to refuse to do business with him, to Case's profit. He also hears rumors of Case having been involved in the suspicious deaths of his previous competitors. Although realising that he has been tricked, Wiltshire has genuinely fallen in love with Uma, and has their marriage legalised by a passing missionary. Wiltshire gradually learns that Case's influence over the villagers stems from their belief that he has demonic powers, as a result of his simple conjuring tricks as well as strange noises and visions they have experienced at a "temple" he has built in the forest. Upon investigating, Wiltshire finds that these experiences are also tricks produced by imported technologies such as luminous paint and Aeolian harps. Wiltshire sets out that night to destroy the temple with gunpowder. Case confronts him and the two men fight, resulting in Case's death. The story concludes with Wiltshire several years later living on another island, still happily married to Uma, worrying about what will happen to his mixed-race children. Stevenson saw "The Beach of Falesá" as the ground-breaking work in his turn away from romanticism to realism. Stevenson wrote to his friend Sidney Colvin: 'It is the first realistic South Seas story; I mean with real South Sea character and details of life. Everybody else that has tried, that I have seen, got carried away by the romance, and ended in a kind of sugar candy sham epic, and the whole effect was lost - there was not etching, no human grin, consequently no conviction. Now I have got the smell and look of the thing a good deal. You will know more about the South Seas after you have read my little tale than if you had read a library.' In an unusual change for Stevenson, but in-line with realism, the plot of the story is less important, rather the realistic portrayal of the manners of various social classes in island society is foregrounded; it is essentially a novel of manners. As Stevenson says to Colvin in a letter, "The Beach of Falesá" is "well fed with facts" and "true to the manners' of the society it depicts." Other than the island itself which is fictional, it contains the names of real people, real ships and real buildings which Stevenson was familiar with from his personal travels in the South Seas. W42 L
22x28.5 cm. 192 pages. Spine upper edge slightly bumped. Else in good condition. PLEASE NOTE: This item is overweight. We may ask for extra shipping costs.
(Codice CU/4924) In 8° grande (24 cm) 224 pp. Con molte illustrazioni a colori e tavole fotografiche. Grande e bel volume, cartone rigido editoriale. COME NUOVO. ~~~ SPEDIZIONE IN ITALIA SEMPRE TRACCIATA
(Codice GR/0504) In 8º (19,5 cm) 125 pp. Prima edizione. Pratico manuale, con molte foto e illustrazioni a colori di Wenty Bramall. Cartone editoriale, titolo oro, sovraccoperta. Buon esemplare. ~~~ SPEDIZIONE IN ITALIA SEMPRE TRACCIATA
Hardcover, 489 pages, ENG, 280 x 220 mm, book is in fine order, with dozens of pictures / images in colour and b/w of the finest English furniture, . ISBN 9780902028883. English furniture has developed largely in line with styles in the rest of northern Europe, but has been interpreted in a distinctive fashion. There were significant regional differences in style, for example between the North Country and the West Country. Salisbury and Norwich were prominent early centres of furniture production
Steven Holl Antologia di testi su sensual space l'architettura fenomenologica. , Kappa 2005, A cura di Elena Tinacci. Antologia della contemporaneità. Collana diretta da Fulvio Leoni. 4. Molto buono (Very Good) . <br> <br> <br> 124<br>
Il testo è in inglese<br/>Legatura brossura con bandelle<br/>Formato Quarto<br/>Num Pagine 144<br/>Illustrazioni numerose a colori fuori testo<br/>Prima Edizione
Formato 22X20. Il testo è in lingua inglese<br/>Legatura brossura con bandelle<br/>Num Pagine 132<br/>Illustrazioni a colori
pp. vii, 136. Illustrated with full page etchings by Denis Tegetmeier; designed by Eric Gill; printed and bound by Hague & Gill; hand-set in Bunyan type, designed by Gill, and first used in this book; full tan buckram, stamped in blue, red and gold. 4to. 9 1/8 x 11 1/2 inches. Top edge gold. Binding curiously stained at bottom front corner and rear top corner. From the original slip case? Paper slip case paper label has slight chipping. Number 413 of an edition limited to only 1500 copies, signed by Denis Tegetmeier and Eric Gill. The books published by the Limited Editions Club are justly treasured for the quality of the texts, the beauty and artistry of the illustrations, the creativity of design, and the overall excellence of the paper, presswork, and binding. Each book would make a wonderful gift for any occasion. W42
In ottime condizioni, spedizione tracciata
Copertina con marginii e angoli stanchi. Dorso usurato alle estremità, leggermente sbiadito. Controguardie ingiallite, con presenza di piccole note a matita alla controguardia posteriore. Presenza di fioriture alla controguardia superiore. Pagine salde, con ampio margine, ingiallite, così come tagli. Presenti numerose illustrazioni in bianco e nero, nel testo, con didascalia. Numero pagine 705. USATO
8vo., Second Edition, with numerous plates and diagrams in the text, small neat contemporary signature on front free endpaper; decorative green cloth, upper board and backstrip blocked in pale green and lettered in gilt, a very good, bright, clean copy. With 40pp publisher's catalogue bound in at end. VERY SCARCE IN THIS CONDITION.
Packed full of photogaphs, descriptions and reviews.
Packed full of photogaphs, descriptions and reviews.
A book to accompany exhibitions at Tate St Ives and Yorkshire Sculpture Park 24th May to 14 September 2003. Edited by Chris Stephens. Numerous illustrations. Includes Index. 160 pages
Prima edizione. Traduzioni di David Kerr ed Elisabetta Pastorella. Legatura cartonata grigia, con titoli in bianco solo al dorso, ben preservata da sovraccoperta con alette illustrata. Pagine ottime, con testo a due colonne e numerose tavole nel testo e fuori testo, con didascalia. Numero pagine 239. USATO
Volume di collana, copertina rigida texture tela in ottimo stato con titolo oro al dorso, sovraccoperta ingiallita e con strappetti ai bordi, brunitura al dorso e rade macchioline da umido sparse; nessuna imperfezione nelle pagine ampiamente illustrate con 31 figure in nero e altre non numerate nel testo, X (10) fotografie e immagini su tavole fuori testo, taglio di testa scurito da fattore tempo. Prefazione di Percy Corry, firma di appartenenza al frontespizio. N. pag. 144. USATO
Volumetto tascabile, copertina in cartoncino con alette priva di danni ma velata di polvere, illustrazione grafica a colori, le pagine sono in ottimo stato con normale e lieve ingiallimento ai tagli; traduzione di Chicca Galli. N. pag. 167. USATO
4°. 163 S. Original illustrierter Karton mit Rücken- und Deckeltitel. Einband mit leichten Gebrauchsspuren, sonst sehr guter Zustand. Viele farbige Abbildungen.
A clean, unmarked book with a tight binding. Small tears on price-clipped dust jacket. 164 pages. 9 1/4"w x 10"h. Many b&w photos.
New York, Dover Publications, 1987, 4to spillato con copertina illustrata a colori, pp. 46 completamente illustrato
ill., br. Il libro raccoglie fra i migliori esiti delle tesi di laurea svolte nel Laboratorio di Sintesi Finale in progettazione architettonica alla scuola ferrarese condotto nei diversi anni accademici sul tema del museo. Ai progetti si affianca una riflessione sull'insegnamento dei due autori e della museologa Anna Maria Visser, che insieme ad altri docenti del Dipartimento di Architettura, in particolare Marco Mulazzani (Storia dell'Architettura), hanno seguito lo sviluppo delle ricerche qui riprodotte. Il volume vuole proporsi come utile strumento di riflessione sul tema del museo contemporaneo ma anche più in generale sul progetto di architettura, sia per gli studenti che per gli architetti.
