‎École‎

‎Barker, Prof Kit (Professor, Tc Beirne School Of Law, Professor, Tc Beirne School Of Law, The University Of Queensland)‎

‎Enforcement Rights In Public And Private Law: Paradigms Exceptions And Hybrids‎

‎new. unknown‎

Riferimento per il libraio : 51790512-n ISBN : 0192864491 9780192864499

‎Barkley, Russell A (Virginia Commonwealth University School of Medicine, United States)‎

‎Barkley Adult ADHD Rating Scale--IV BAARS-IV Wire-Bound Paperback‎

‎Paperback / softback. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; The Barkley Adult ADHD Rating Scale-IV BAARS-IV offers an essential tool for assessing current ADHD symptoms and domains of impairment as well as recollections of childhood symptoms. Directly linked to DSM-IV diagnostic criteria the paperback‎

Riferimento per il libraio : ria9781609182038_inp ISBN : 1609182030 9781609182038

‎Barkley, Russell A (Virginia Commonwealth University School of Medicine, United States)‎

‎Executive Functions‎

‎Paperback / softback. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; This groundbreaking book offers a comprehensive theory of executive functioning EF with important clinical implications. Synthesizing cutting-edge neuropsychological and evolutionary research Russell A. Barkley presents a model of EF paperback‎

Riferimento per il libraio : ria9781462545933_inp ISBN : 1462545939 9781462545933

‎Barkley, Russell A (Virginia Commonwealth University School of Medicine, United States)‎

‎Treating ADHD in Children and Adolescents‎

‎Paperback / softback. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; From foremost authority Russell A. Barkley this book presents essential principles and practices for managing attention-deficit/hyperactivity disorder ADHD in children and teens. Barkley interweaves the best scientific knowledge with paperback‎

Riferimento per il libraio : ria9781462545148_inp ISBN : 1462545149 9781462545148

‎Barlow, F. P. & Robinson, G. (editors)‎

‎Hydonian 1962‎

‎No marks or inscriptions to contents. Light creasing to covers. A clean tight copy with slightly dusty unmarked front cover, minor marrks to rear and minor nicks to oversize parts of covers. unpaginated ca 65pp. The school mazgazine for 1962 of Hyde Country Grammar School in Hyde, then in Cheshire, now in Tamesdie. Filled with events of the year, short stories, sports events, school clubs. Interesting entry for Nov 3 was 'explosives found in gym, set with 2 days fuse'. Many contemporary adverts of the shops in the town - now long gone. Extremely scarce.‎

‎Barman, Jean A.‎

‎Growing Up British in British Columbia: Boys in Private School‎

‎259 pages. Black and white photographic plates. Extensive footnotes, bibliography and index. "Traces the transfer of the ideals and practices of class-based private education in late Victorian Britain to British Columbia in the early 1900s." - from dust jacket. Book clean, bright and unmarked with very light wear. Moderate wear to dust jacket. A quality copy. Book‎

‎BARNET G‎

‎L'ECOLE PRIMAIRE SUPERIEURE DES FRERE DES ECOLES CHRETIENNES DE LA VILLE D'AURILLAC. 1842 - 1879.‎

‎Sans lieu ni date, vers 1960. In-4 broché, (tapuscrit), de 53 pages. Envoi de l'auteur‎

‎Baro (Carlos M.) et Escola (Juan)‎

‎Eventails anciens‎

‎Editions Payot , Orbis Pictus (1 janvier 1957)‎

‎Couverture souple, comme neuf.‎

Riferimento per il libraio : lc_62414

‎Barr, Cathrine‎

‎Mr. Black's Secret‎

‎Ex-library book with the usual stamps and markings. Full orange cloth boards. Unpaginated. 7 1/8"w x 9 1/4"h. The story of Mr. Black, a cat, and the skunk who has been eating his food. An Easy-to-Read book.‎

‎Barraclough Geoffrey‎

‎Atlante della storia 1945-1975 (stampa 1984)‎

‎bross. edit. ill.‎

‎Barre High School‎

‎The Barretone: June 1938 Classic Reprint‎

‎hardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover‎

Riferimento per il libraio : 0260605158.G ISBN : 0260605158 9780260605153

‎BARREME, N.‎

‎L'arithmétique du Sr. Barreme ou le Livre facile pour apprendre l'arithmétique de soi-même & sans maitre. Ouvrage très nécessaire à toute sorte de personne : aux unes pour apprendre l'arithmétique & à ceux qui la savent pour les aider à rappeller (sic) dans leur mémoire quantité de règles qui s'oublient facilement, faut de pratique. Nouvelle édition augmentée de plus de 190 pages ou règles différentes, de la géométrie, servant au mesurage & à l'arpentage, & du traité d'arithmétique nécessaire à l'arpentage & au toisé.‎

‎1781 A Limoges, Chez Martial Barbou - M.DCC.LXXXI. (1781) - In-duodecimo, plein cuir de l'époque, dos à cinq nerfs, étiquette de titre sur fond rouge, caissons, fleurons et titre en doré - 490 pages + diverses tables générales (des nombres entiers, pour les fractions, etc)‎

‎Bon état de conservation - Coins inférieurs émoussés - Cuir frotté et craquelé au dos‎

Riferimento per il libraio : 122148

‎BARRES Maurice‎

‎Greco ou le secret de Tolède. Collection : Images et idées/Arts et métiers graphique (amg).‎

‎Paris, Flammarion, 1966. 12 x 21, 143 pp., nombreuses illustrations en N/B, broché, bon état.‎

Riferimento per il libraio : 47073

‎Barrett, Franklin L.‎

‎Teachers Manual to Accompany Wide Open Windows‎

‎283 pages. Prior owner's details neatly upon front free endpaper. Minimal light pencil markings to contents. Binding intact. A sound vintage working copy. Book‎

‎Barrier (Paul)‎

‎L'enfant d'age scolaire‎

‎1937 Horizons de france 1937 In4 reliure éditeur paginé 272 à 338 très nombreuses illustrations‎

‎de la collection le visage de l enfancetrès bon état‎

Riferimento per il libraio : 5687

‎Barry Z (Leavey School of Business and Administration and Santa Clara University) Posner‎

‎The Leadership Challenge Workshop 5th Edition Participant Workbook in Spanish‎

‎new. unknown‎

Riferimento per il libraio : 36491572-n ISBN : 1119560446 9781119560449

‎Barry, Lynda‎

‎Down the Street‎

‎A clean, unmarked book with a tight binding. 8 7/8"w x 5 7/8"h. 124 pages. Stated First Edition/First Printing.‎

‎Barry, Lynda‎

‎My Perfect Life‎

‎A clean, unmarked book with a tight binding. 127 pages. 9"w x 6"h.." Deep, tragic, beautiful, truthful, freaked out, blown away. Stated First Edition.‎

‎Barry, Lynda‎

‎The Fun House‎

‎A clean, unmarked book with a tight binding. 9"w x 6"h. Slight edge wear to cover.‎

‎Barrès, Maurice - Brouet, Auguste (ill.)‎

‎Gréco ou le secret de Tolède. Vingt-trois eaux-fortes originales gravées par Auguste Brouet.‎

‎Paris Les Editions d'art Devambez 1928 grand in-4 en feuilles Paris, Les Editions d'art Devambez, 1928. 33,5 x 26 cm, grand in-4, (4) 109 (6) pp. - frontispice et 14 planches hors texte d'après Le Gréco, 8 larges en-têtes, vignette de titre et 7 culs-de-lampe également gravés, en feuilles sous couverture blanche rempliée et imprimée, chemise et étui.‎

‎Premier tirage des eaux-fortes de Auguste Brouet. Tirage à 218 exemplaires. Celui-ci l'un des 12 exemplaires sur JAPON à la forme réservés à l'artiste, contenant TROIS ETATS (eau-forte pure, état avec remarque, état définitif) des 23 eaux-fortes annoncées au titre (soit les 15 hors-texte et 8 en-têtes), un grand DESSIN ORIGINAL à la mine de plomb signé et une EAU-FORTE supplémentaire en couleurs (avec deux états supplémentaires en noir) dont le tirage est réservé à ces exemplaires (n° H. C. 1). Sans le cuivre annoncé. Parmi les exemplaires sur Japon il fut également tiré 1 exemplaire unique avec dessins, bons à tirer et 3 états, 20 avec 3 états et 1 dessin, 40 avec 2 états. Somptueuse publication effectuée sous la direction artistique de Edouard Chimot. Bel exemplaire. (CARTRET, IV, 60 : "belle publication cotée" ; MONOD, 1017) Très bon‎

Riferimento per il libraio : 4601

‎Barthold, Theodor‎

‎Kritische Bemerkungen zu den Prologscenen und der Parodos der Medea V. 1-212. ANGEBUNDEN: Kirchhoff, Christian: Der Rhombus in der Orchestra des Dionysustheaters zu Athen.‎

‎Altona, Druck Peter Meyer, Peter, 1885. 15 S. und 1 S. mit 1 farb. lith. Falttaf. IN: Programm des Königl. Christianeums zu Altona zu der Vorfeier des Geburtstages Sr. Majestät des Kaisers u. Königs und zur Abiturienten-Entlassung... Zus. 36 S. 4to. 26,5 cm. Rückenbrosch. (mit Heftklammern verstärkt).‎

‎Umschlag angestaubt und randbrüchig. Mit 2 alten Schulstempeln (19. Jh.)‎

Riferimento per il libraio : 12545

‎Bartlett School of Architecture (UCL)‎

‎Survey of London. Volumes 51-52 South-East Marylebone / general editor: Andrew Saint - complete in two volumes‎

‎New Haven : Published for the Bartlett School of Architecture UCL by Yale University Press on behalf of the Paul Mellon Centre for Studies in British Art London 2017. 1st edition. Hardcover. Fine cloth copy in an equally fine dust wrapper in slip-case now mylar-sleeved. Particularly well-preserved overall; tight bright clean and strong. Physical description: 2 volumes xix 913 pages : illustrations some colour maps some colour plans ; 30 cm 2 foldout maps. Foldout maps in pockets inside back covers of volumes. Includes bibliographical references and index. Subjects: Historic buildings England London. Architecture England London. Marylebone London England History. New Haven : Published for the Bartlett School of Architecture (UCL), by Yale University Press on behalf of the Paul Mellon Centr hardcover‎

Riferimento per il libraio : 295607 ISBN : 0300221975 9780300221978

‎Bartolini Luigi (Cupramontana 1892 – Roma 1963)‎

‎Fiori‎

‎Acquaforte. Lastra mm 118x152, foglio 160x222 mm. Firma a matita a sinistra Luigi Bart. Titolo a matita in basso a sinistra non ben leggibile. Possiamo ipotizzare Invadenza. L’incisione non è catalogata in nessuno dei numerosi repertori sull’artista da noi consultati; è notorio che la catalogazione delle opere di Bartolini non è ancora completa. Bellissima prova, impressa su carta coeva, piccolo strappo perfettamente restaurato nella parte superiore, leggera abrasione al verso, per il resto in ottimo stato di conservazione. Luigi Bartolini è considerato uno dei maggiori incisori italiani del Novecento, insieme a Giorgio Morandi e Giuseppe Viviani. Oltre ad essere un prolifico incisore (al suo attivo oltre mille acqueforti), fu anche pittore e scrittore. Partecipò sia come pittore che come incisore a diverse edizioni della Biennale di Venezia dal 1928 al 1962. Presente a varie manifestazioni artistiche, sviluppò diverse maniere definite: ‘maniera bionda’, ‘lineare’ e ‘nera’. Ricordiamo soprattutto le acqueforti della serie Marche e della serie Sicilia.  Iniziò la sua produzione grafica nel 1914 e il suo stile si rifà alla tradizione naturalistica dell’Ottocento. Molte sue incisioni si possono ricollegare ad alcune opere del Goya, di Telemaco Signorini e di Giovanni Fattori. Eccellente nella rappresentazione della natura morta e del paesaggio, spesso il Bartolini rappresentò dolcemente le cose e gli oggetti più umili, i soggetti di natura più dimessi. In essi ritroviamo il sentimento che diviene immagine e la forma che si sviluppa in espressione. Con Bartolini l’incisione torna ad essere un mezzo di espressione poetica libera dal simbolismo e dal vedutismo allora in voga presso le accademie. Nelle sue acqueforti prevale ora un tratteggio leggero (genere biondo), ora una ricerca del chiaroscuro alla Rembrandt (genere nero). Etching. Plate mm 118x152, sheet 160x222 mm. Signature in pencil on the left Luigi Bart. Title in pencil at lower left not well readable. We can assume Invadenza. This work is not catalogued in any of the several repertories we consulted about the artist; it is well known that the cataloguing of Bartolini's works is not yet complete.  Beautiful proof, printed on contemporary paper, small tear perfectly restored in the upper part, light abrasion on the back, otherwise in excellent condition. Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini. After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolini taught in Merano, where he painted and etched in the open air, finding subjects on the banks of the fast flowing Adige. Despite being under political su...‎

‎Bartolini Luigi (Cupramontana 1892 – Roma 1963)‎

‎Gli amanti crucciati 2‎

‎ Acquaforte,1952. Lastra mm. 148x82. Firma a matita in basso a destra Luigi Bartolini. Dedica a matita in basso “Auguri per il 1954”. Tiratura a 20 esemplari, inserita nelle copie di testa del libro Ombre fra le metope, Schwarz Editore 1953, stampato da Luigi Maestri, Milano. Luigi Bartolini è considerato uno dei maggiori incisori italiani del Novecento, insieme a Giorgio Morandi e Giuseppe Viviani. Oltre ad essere un prolifico incisore (al suo attivo oltre mille acqueforti), fu anche pittore e scrittore. Partecipò sia come pittore che come incisore a diverse edizioni della Biennale di Venezia dal 1928 al 1962. Presente a varie manifestazioni artistiche, sviluppò diverse maniere definite: ‘maniera bionda’, ‘lineare’ e ‘nera’. Ricordiamo soprattutto le acqueforti della serie Marche e della serie Sicilia.  Iniziò la sua produzione grafica nel 1914 e il suo stile si rifà alla tradizione naturalistica dell’Ottocento. Molte sue incisioni si possono ricollegare ad alcune opere del Goya, di Telemaco Signorini e di Giovanni Fattori. Eccellente nella rappresentazione della natura morta e del paesaggio, spesso il Bartolini rappresentò dolcemente le cose e gli oggetti più umili, i soggetti di natura più dimessi. In essi ritroviamo il sentimento che diviene immagine e la forma che si sviluppa in espressione. Con Bartolini l’incisione torna ad essere un mezzo di espressione poetica libera dal simbolismo e dal vedutismo allora in voga presso le accademie. Nelle sue acqueforti prevale ora un tratteggio leggero (genere biondo), ora una ricerca del chiaroscuro alla Rembrandt (genere nero). Bibliografia https://www.luigibartolini.com/gli_amanti_crucciati_74.html Etching,1952. Plate mm. 148x82. Signature in pencil at lower right Luigi Bartolini. Dedication in pencil at the bottom "Auguri per il 1954".  Limited edition of 20 copies, inserted in the leading copies of the book Ombre fra le metope, Schwarz Editore 1953, printed by Luigi Maestri, Milan. Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini. After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolini taught in Merano, where he painted and etched in the open air, finding subjects on the banks of the fast flowing Adige. Despite being under political suspicion, he was given a one - man show of 50 etchings at the second Rome Quadriennale in 1935, when he was awarded the first prize for printmaking. Bartolini still encountered political difficulties, and his ...‎

‎Bartolini Luigi (Cupramontana 1892 – Roma 1963)‎

‎La fonte (Tre donne alla fontana)‎

‎Acquaforte e punta secca, 1924. Misure della lastra 85x130 mm. Prova d’autore, firmata a matita in basso “L. Bartolini”. Esemplare rifilato al rame ed applicato su cartoncino coevo. Perfetto stato di conservazione. All’incisione, databile al 1924-25 come altre opere analoghe dell’artista, Bartolini assegnerà poi il titolo definitivo di Tre donne alla fontana. Un’esemplare dell’opera definitiva è passato in asta a Berna nel novembre del 2007: https://www.mutualart.com/Artwork/Tre-donne-alla-fontana/591860B3A0845475 Luigi Bartolini è considerato uno dei maggiori incisori italiani del Novecento, insieme a Giorgio Morandi e Giuseppe Viviani. Oltre ad essere un prolifico incisore (al suo attivo oltre mille acqueforti), fu anche pittore e scrittore. Partecipò sia come pittore che come incisore a diverse edizioni della Biennale di Venezia dal 1928 al 1962. Presente a varie manifestazioni artistiche, sviluppò diverse maniere definite: ‘maniera bionda’, ‘lineare’ e ‘nera’. Ricordiamo soprattutto le acqueforti della serie Marche e della serie Sicilia.  Iniziò la sua produzione grafica nel 1914 e il suo stile si rifà alla tradizione naturalistica dell’Ottocento. Molte sue incisioni si possono ricollegare ad alcune opere del Goya, di Telemaco Signorini e di Giovanni Fattori. Eccellente nella rappresentazione della natura morta e del paesaggio, spesso il Bartolini rappresentò dolcemente le cose e gli oggetti più umili, i soggetti di natura più dimessi. In essi ritroviamo il sentimento che diviene immagine e la forma che si sviluppa in espressione. Con Bartolini l’incisione torna ad essere un mezzo di espressione poetica libera dal simbolismo e dal vedutismo allora in voga presso le accademie. Nelle sue acqueforti prevale ora un tratteggio leggero (genere biondo), ora una ricerca del chiaroscuro alla Rembrandt (genere nero). Rara. Etching and drypoint, 1924. Plate size 85x130 mm.   Artist's proof, signed in pencil at the bottom "L. Bartolini". Example trimmed to copper and applied on contempoary paperboard. Excellent state of preservation. Rare. Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini. After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolini taught in Merano, where he painted and etched in the open air, finding subjects on the banks of the fast flowing Adige. Despite being under political suspicion, he was given a one - man show of 50 etchings at the second Rome Quadriennale in 1935, when he was awarded the first prize for printmaking. Bartolini still encountered political difficulties, and his 'Modi', published by Edizioni del Cavallino in 1938, was censured by Al...‎