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1999rif. 1318078PN. New. 1999. Soft Cover. Date is original print. This is a reprint edition . PN paperback
2003rif. SKU0626241Harvard Business Review Press 2003-01-02. paperback. New. 6x0x9. New Textbook Ships with Tracking Harvard Business Review Press paperback
2003rif. Q-1578518768Harvard Business Review Press 2003-01-02. Paperback. New. New. In shrink wrap. Looks like an interesting title! Harvard Business Review Press paperback
rif. ria9781786301451_inpHardback. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; N/A hardcover
2025rif. __0198977174Oxford University Press 2025. Hardcover. New. 256 pages. 6.50x0.79x9.45 inches. Oxford University Press hardcover
rif. 50853922like new. unknown
rif. 50853922-nnew. unknown
2026rif. x-0198977174Oxford University Press 2026. Hardcover. New. 248 pages. 6.50x0.79x9.45 inches. Oxford University Press hardcover
2019rif. 2-1473760216Cengage Learning Emea 2019. Paperback. New. 2nd ed edition. 656 pages. 10.20x7.72x1.06 inches. Cengage Learning Emea paperback
rif. ria9781119553847_inpHardback. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; N/A hardcover
rif. ria9781119885290_inpHardback. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; N/A hardcover
rif. ria9781119977155_inpPaperback / softback. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; Financial Accounting 2e provides a very accessible and easy-to-follow introduction to the subject. It is intended as a core textbook for students studying financial accounting for the first time: either those following an undergraduate paperback
2024rif. __1473791332Cengage Learning Emea 2024. Paperback / Softback. New. 7th ed edition. 752 pages. 10.28x7.64x1.26 inches. Cengage Learning Emea paperback
rif. ria9781786305671_inpHardback. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; N/A hardcover
rif. 0484579762.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1966rif. Bing832JW058New York University 1966. Hardcover. Good. Prompt shipment with tracking. we ship in CLEAN SECURE NEW boxes : Good hardcover with clean pages previous owner sticker on front pastedown stains on cover. Sm4to. 717pp. New York University hardcover
rif. DADAX1442262486Rowman & Littlefield Publishers 2016-02-18. paperback. New. 5.92x0.44x9.00. Buy with confidence. Excellent Customer Service & Return policy. Rowman & Littlefield Publishers paperback
1938rif. 2090202122801449Narumido shoten 1938. Soft Cover. Fine. Number of pages: 457p Narumido shoten paperback
rif. 0656135913.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
rif. 1331019672.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1940rif. 2092902137305933Takamizawa Mokuhansha 1940. Soft Cover. Fine. The book is in fine condition. Takamizawa Mokuhansha paperback
1981rif. 2091502135705797Kokusho Publishing Association 1981. Soft Cover. Fine. The book is in fine condition. Kokusho Publishing Association paperback
1981rif. 2092902141301542Kokusho Publishing Association 1981. Soft Cover. Fine. Number of books: 1 Kokusho Publishing Association paperback
rif. 51691New York: The Print Center N.D. First Edition; First Printing. Softcover. Very Good in wrappers. No date.; 8vo 8" - 9" tall. The Print Center unknown
1950Acquaforte. 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...
