Fotografia

Contenuto: Introduzione, Giampaolo Dossena - Come giocavamo - Le mille e una bambola - Antichi giochi su carta - I soldatini di piombo - L'industria dei giocattoli in Friuli - Il mondo giocattolo di Antonio Rubino - Il guardaroba di una bambola manichino - Il 'mondo' all'aperto. Milano,Rotonda della Besana,Primavera 1984. A cura di P.Bonato, P.Franzini, M.Tosa. Firenze, Alinari 1984, cm.29,5x21, pp.148, 150 foto a col.nt., brossura, cop.fig.a col.

Whitecap 2002, cm.26x35, pp.192, ill.a colori. legatura editoriale cartonata, sopracoperta figurata a colori.

Photographs by Joe Cognigni. Foreword by Steve Stroud. Moods of Hong Kong 1992, cm.30x30, pp.153 ill.a colori. legatura editoriale cartonata, sopracoperta figurata.

Fotografie di Emil Schulthess. Zurigo, Edizioni Silva cm.21x30, pp,118, le tavole a colori sono applicate. legatura editoriale cartonata, sopracoperta figurata a colori.

Firenze, Fratelli Alinari Ed. 1999, cm.15,5x22, pp.80, oltre 160 ill.bn.,seppia, e col.nt. brossura copertina figurata a colori. Collana La Fotografia Racconta.

Bella raccolta di tavole bn., sono presenti 59 tavole invece di 60, mancante l'ultima tavola della raccolta. Alloro Edizioni D'Arte 1935, cm.34x50, Volume mancante della legatura, da rilegare e cucire, le prime carte bianche sono macchiate, mentre le tavole sono in buono stato e molto belle.

Colle Val d'Elsa, Protagon Editori Toscani 2006, cm.24x24, pp.120, illustrazioni a colori. legatura editoriale, copertina figurata. Testo Italiano e Inglese. La sintesi di alcuni "stati d'infanzia". La vita di giovani uomini in forme essenziali, senza mediazioni, come puro è il loro essere. Immagini dal significato assoluto. Sostantivi senza aggettivazioni che declinano, arrotondano, riducono o esaltano.

A cura di Dino Rugeriis e Gianni Boselli. Roma, Ciarrapico Editore 1976, cm.25x32, da pagina 510 a pag. 670 brossura copertina figurata.

Bruxelles, Monique Adam Editeur 1978, cm.23x22,5, pp.94 ill.bn. legatura editoriale in tutta tela, sopracoperta figurata.

Photograps by Alison Harris. New York, The Little Bookroom 2011, cm.15,5x16, pp.196,num.ill.col.nt. leg.ed.cop.fig.col. Author David Downie and photographer Alison Harris climb the Janiculum-the highest hill within Rome's ancient walled fortifications-and find hidden benches with see-forever views; a church forecourt where Goethe sat and sighed, drinking in the inspiration; and the park of a once-noble villa now luxuriantly overgrown, its long trellises knotted with fragrant wisteria and climbing roses. On the Palatine, they find a narrow lane that passes over the ancient ruins, affording rare glimpses of the Forum and Colosseum, free of charge and with no wait. Beyond the Domus Aurea of Emperor Nero, they discover a sweeping staircase from a century ago and the massive brick remains of a temple to Isis. Even the most intrepid travelers who think of themselves as Rome “insiders” will be surprised when they follow the author and photographer of this guidebook through the Roman labyrinth. Historical anecdotes and quotations from antiquity to the present day are woven throughout the text, bringing Rome alive.

1) The Origins 1839-1890. 2) A New Vision of the World 1891-1940. 3) From the Press to the Museum 1941-1980. 4) The Contemporary Era 1981-2013. Edited by Walter Guadagnini. Milano, Skira 2015, 4 volumi. cm.21x28, pp.1376, illustrazioni in bianco e nero e a colori, tavole. legature editoriali cartonate in cofanetto custodia telata, con copertine illustrate. Testo Inglese. English edition. This history of photography, marking an ideal continuity with the "Art of the 20th century" series, responds to the need for accurate informtion for the general public and supplies more specialised investigations of the medium, offering an international overview.The series offers a complete, up-to-date survey of photography through an original and transversal analisys. This special edition gathers four volumes in an exclusive slipcase inspired by the oldest surviving camera photograph, View from the Window at Le Gras, created by Nicéphore Niépce in 1826.The books provide an extraordinary repertory of images and a vast source of information, enriched through "focus on" windows and technical information, synoptic tables and a summary glossary. The essays, by some leading international experts, investigate and analyze in chronological order the transformations of the world's photographic culture and the najor figures that have shaped the development oog photography.With a chronological division into four main periods (The Origins 1839-1890; A New Vision of the World 1891-1940;From the Press to the Museum 1941-1980; The Contemporary Era 1981-2013), this will be the most authoritative set on the subject.Former director of the Galleria Civica in Modena, Walter Guadagnini is a curator and professor of history of contemporary art at the Accademia delle Belle Arti in Bologna. He is also commissaire unique for the Italian section of "Paris Photo".

Druot Richelieu. Paris, Binoche et Godeau 1991, cm.16x21,5, pp.120 ill.bn. legatura editoriale cartonata. Bel catalogo di vendita di fotografie d'epoca, eroticje, nudi, design, architetture.

Edited by Filippo Maggia and Nobuyoshi Araki. Milano, Skira 2019, cm.24x30, pp.200, 320 illustrazioni a colori. legatura editoriale cartonata, sopracoperta figurata. Testo Inglese. The essential images from the legendary Japanese photographer at work from the sixties to the present, Nobuyoshi Araki.

Modena, Ex Ospedale Sant'Agostino, 14 September - 9 December, 2012. English Edition. Edited by Filippo Maggia Milano, Skira 2012, cm.24x28, pp.156, 110 tavole a colori. legatura editoriale cartonata, sopracoperta figurata a colori. Testo Inglese. From nudes to landscapes, a wide-ranging retrospective of the work of Edward Weston, one of the greatest 20th-century American photographers.Edward Weston (Highland Park, Illinois, 1886 - Wildcat Hill, California, 1958) began to take photographs at the age of sixteen and in 1911 he opened his first photographic studio in the town of Tropico in California. He became an increasingly important figure on the American art scene, so much so that in 1936 he was the first photographer to receive a research grant from the Guggenheim Foundation.In 1946 the MoMA in New York gave him a major retrospective, showing 300 works and thus definitively confirming him as one of the great artists of the 20th century.Often directly compared to painting and sculpture, Weston's photography is the expression of a relentless quest for pureness, both in composition and in the almost obsessive perfection of the image.This catalogue published to accompany an exhibition in Modena, the first show in Italy for over twenty years, celebrates Weston's extraordinary oeuvre with over 120 original photographic prints

München, Prestel Verlag 2003, cm.16x12, pp.30, con illustrazioni. Brossura copertina figurata. Testo Inglese.

Munchen, Schirmer Mosel 1977, cm.23x28,5, pp.158, ill.tavole bn. legatura editoriale cartonata sopracoperta figurata.

Prefazione del terzo Barone Baden-Powell of Gilwell. New York, Hippocrene Books 1990, cm.25x22, pp.118, con numerose foto in bianco e nero. Legatura editoriale con sovraccoperta figurata a colori.

Fotografie di Michael Ruetz. Boston, Little Brown Company 1988 cm.36x26,5, pp.150,num.ill.col.nt. legatura editoriale cartonata, sopracoperta figurata a colori. Text in english.

1991, cm.21x30, pp.160 ill.bn.nt. legatura editoriale cartonata, sopracoperta figurata a colori.

Firenze, Fratelli Alinari 2002, cm.18x19, pp.271, oltre 300 ill.bn.,seppia e col.nt. legatura editoriale cartonata sopracoperta figurata. Ediz. inglese.

A cura di Nicoletta Leonardi. Firenze, Pagliai Polistampa 2004, cm.29x20, pp.80, illustrazioni in bianco e nero e a colori. brossura, copertina figurata. Testo Italiano, Inglese e Francese. "La ricerca di Marangoni è incentrata sul tema della rovina come metafora della decadenza dell'occidente. Scattate fra il 1988 e il 2003, le immagini qui raccolte mettono i paesaggi dei siti archeologici monumentali delle civiltà antiche a confronto con gli scenari contemporanei delle metropoli occidentali. Accanto ai siti dell'antichità, le capitali degli imperi di oggi compaiono anch'esse quali vestigia di luoghi monumentali assediati dall'incertezza, simboli di un occidente ormai divenuto vulnerabile. Nell'alternarsi di presente e passato, i percorsi del fotografo formano una spirale che ripete all'infinito lo stesso cerchio, quasi ad indicare la ricerca di una matrice comune, di un unico luogo d'origine" (Nicoletta Leonardi).

London, Smithsonian Institution Press 2002, cm.18x20, pp.130, 66 tavole bianco e nero nel testo, legatura editoriale, sopraccoperta figurata. Testo in inglese. The tintype, patented in 1856, was a cheap, fast, easy-to-make, practically indestructible type of photograph that became enormously popular among the working class in the late nineteenth century. For common laborers and their families, the opportunity to join the ranks of those who owned pictures of family and friends--the upper classes--was momentous. This collection exhibits more than eighty examples of a specific kind of tintype: occupational portraits, photographs of working people with the tools of their trade. Michael L. Carlebach examines the historical significance of these tintypes and finds that they reveal a great deal about late nineteenth-century values. The subjects of these images are plumbers proudly holding their wrenches and pipe cutters, carpenters with their saws and lathing hatchets, textile workers with their spindles and yarn, icemen with their tongs. These people lived and worked at a time when a depersonalized factory system run by production and efficiency experts was beginning to dominate American industry and culture. Many of the men and women in these tintypes were part of a disappearing class of self-employed artisans and journeymen; their portraits proudly stress their individuality and the essential nobility of their work. The most common reaction of historians to tintypes has been undisguised contempt or, at best, indifference. The photographs were generally seen as hopelessly unartistic and common. Yet Carlebach celebrates these anonymous portraits and finds that they say as much about today's working Americans--who are much more likely to document their toys and leisure activities than their professions--as they do about the working men and women who proudly sat for them in a much different age.

Testi di Pietro Laureano, Benedetto Manacorda, Toni Maraini, Alessandro Triulzi. Firenze, Alinari 1994, cm.21x26, pp.222, a colori. legatura editoriale in tutta tela, sopracoperta figurata a colori.

Prefazione di Antoine Terrasse. Firenze, Fratelli Alinari Ed. 1988, cm.24,5x31, pp.148, 270 riproduzione in bn. e 16 in quadricromia. legatura editoriale in tutta tela, con sopracoperta figurata. Testo in italiano.