MareMagnum
6 666 résultats
1971Lorica, Sale dell'opera e to 1971. Roma, 1971; br., pp. 50, ill. e tavv. b/n, cm 24x33. italiano br.
1972Siena, Palazzo Pubblico, 14 agosto - 1 settembre 1972. Introduzione di Roberto Barzanti. CIDAC, 1972; ril. in tela, ill. e tavv. b/n, cm 16,5x37,5. italiano
2012Giugliano in Campania, 2012; ril. in cofanetto, pp. 230, ill. e tavv. b/n. italiano 88-95609-2 ril. in cofanetto
1975La Spezia, Centro Allende, 25 aprile - 31 maggio 1975. La Spezia, 1975; cartonato, pp. 300, ill. e tavv. b/n, cm 24,5x31,5. italiano cartonato
1988French Text. Paris, 1988; paperback, pp. 79, 66 b/w plates, cm 22x28.
2002Grumo Nevano, 2002; br., pp. 48, ill., cm 21,5x29.
2021Azzano San Paolo, 2021; br., pp. 272. (Contare le Stelle).
1971German Text. Munchen, 1971; clothbound, pp. 215, b/w ill. and plates, cm 22x31. deutsch clothbound
2022A cura di Peruccio P. P. e Di Tondo G. Torino, 2022; br., pp. 173, ill. col., cm 12x19,5. (Varia).
1910réf. 14724ABMunich, Klauber, 1910. 5 : 3,8 cm. Illustrated original boards.
1913réf. 14726ABNürnberg, Wich, 1913. 5 : 3 cm. Original cloth with golden horse-shoe on front board.
1913réf. 14727ABNürnberg, Wich, 1913. 5 : 3 cm. Original cloth with golden horse-shoe on front board.
[S.l.], [s.n.], [1913], volumetto di piccolissimo formato, mm. 50x35, legatura originale in piena pelle con pianta con fiori miniata a mano sulla copertina anteriore, pp. [30]. Con frontespizio riquadrato da cornice in cromolitografia. Contiene i mesi dell'anno seguìti da alcune carte per eventuali annotazioni (lasciate vuote). Leggere spellature.
2002A cura di Anna Forlani Tempesti. Rimini, 2002; br., pp. 110, 50 ill. b/n num. f.t., cm 20x27. (Calepino di disegni. Note e saggi su disegni e stampe e sulla loro storia. 1). italiano 88-900139- Calepino di disegni. Note e saggi su disegni e stampe e sulla loro storia. 0001
Miniatura su carta eseguita a china e splendidamente colorita all'acquerello, raffigurante calice bizantino, cm.15x10,5. Controfondata su cartoncino dell'epoca. Di squisita fattura.
2017Pieve San Giacomo, 2017; br., pp. 36, ill. col., cm 21x21.
2008Bergamo, 2008; br., pp. 80. (Arte moderna e contemporanea).
2013Bergamo, 2013; br., pp. 32, ill. b/n e col. (Arte Moderna e Contemporanea).
1999STATO: USATO, COME NUOVO. TITOLO: Calligrafia di Dio. La miniatura celebra la Parola. AUTORE: Catalogo della Mostra: CURATORE: A cura di Giordana Mariani Canova, Paola Ferraro Vettore. EDITORE: Franco Cosimo Panini DATA ED.: 1999, COLLANA: Coll.La Miniatura. EAN: 9788882900823
2019Traduzione di Grimaldi C. Milano, 2019; br., pp. 192, ill. col., cm 24x32. (Disegno).
2010Castelnuovo del Garda, 2010; br., pp. 63, ill., cm 19x13,5.
1840réf. 673Philadelphia Pa. 1840. Calling Card printed one side only. 40 x 75 mm. 1 ½ x 3 inches. Painter's name scratched out and "Miss Louise Bradley West Springfield" is penciled in Engraved border pinholes. James W. Williams was a miniature portrait painter. He also experimented with early photographic processes to produce his portraits. He was born in England about 1787 and set up shop in Philadelphia. The Smithsonian holds two of his works; a Talbotype paper print with applied color of Edward Robinson Squibb and an ivory type of two girls untitled. Ivory types were positive photographic prints resembling a hand-painted ivory miniature and were first produced in the mid-1850s. As the term suggests some of these images were made on thin sheets of actual ivory or artificial ivory made of pigmented and hardened gelatin. Louise Bradley 1818-aft 1880 of West Springfield Massachusetts acquired Williams's calling card and used it as her own in this instance since she crossed out his name and penciled in her own. She married a farmer Charles White and lived and died in West Springfield. Portrait miniatures began to flourish in 16th century Europe and the art was practiced during the 17th century and 18th century but the development of photography contributed to the decline in the popularity of miniatures. . unknown
1840réf. 673Philadelphia Pa. 1840. Calling Card printed one side only. 40 x 75 mm. 1 ½ x 3 inches. Painter's name scratched out and "Miss Louise Bradley West Springfield" is penciled in Engraved border pinholes. James W. Williams was a miniature portrait painter. He also experimented with early photographic processes to produce his portraits. He was born in England about 1787 and set up shop in Philadelphia. The Smithsonian holds two of his works; a Talbotype paper print with applied color of Edward Robinson Squibb and an ivory type of two girls untitled. Ivory types were positive photographic prints resembling a hand-painted ivory miniature and were first produced in the mid-1850s. As the term suggests some of these images were made on thin sheets of actual ivory or artificial ivory made of pigmented and hardened gelatin. Louise Bradley 1818-aft 1880 of West Springfield Massachusetts acquired Williams's calling card and used it as her own in this instance since she crossed out his name and penciled in her own. She married a farmer Charles White and lived and died in West Springfield. Portrait miniatures began to flourish in 16th century Europe and the art was practiced during the 17th century and 18th century but the development of photography contributed to the decline in the popularity of miniatures. . unknown books
2009A cura di E. Crispolti, C. Marsan, N. Micieli. Firenze, 2009; br., pp. 36, ill. b/n, cm 24x22. (Accademia delle Arti del Disegno. Monografie. 46).
2009Milano, 2009; br., pp. 186, cm 15,5x21,5. (Varia).
