Prospetti, First Edition (28 results)

Soft cover. Condition: Very Good. 1st Edition. 206 pages with plates. Royal octavo (9" x 6") bound in original publisher's pictorial wrappers. Volume 12 in the series. First edition. A journal covering the arts and letters from through out the world started during the Cold War to present ideas and philosophy from a free world perspective. Condition: Edge wear with bumped corners, pages age toned else very good.

Softcover. Condition: Very Good. Single issue, Number 15, Spring 1956. Octavo. 269pp. Illustrated from black and white photographs. Text in Italian. Illustrated wrappers. Pages lightly age-toned, spine ends and corners bumped, very good. A collection of art, dance, music, poetry, science and more. Contributions by Beaumont Newhall, John Crowe Ransom, Daniel G. Hoffman, Robert Lowry, and many more.

Softcover. Condition: Very Good. Single issue, Number 12, Summer 1955. Octavo. 206pp. Illustrated from black and white photographs, color plates. Text in Italian. Illustrated wrappers. Pages and wrappers lightly age-toned, spine cocked a bit, very good. A collection of art, dance, music, poetry, science and more. Contributions by W.S. Merwin, Daniel G. Hoffman, Mauro Calamandrei, Hayden Carruth, Anthony Hecht, and many more. Scarce, *OCLC* locates no copies.

Softcover. Condition: Very Good. Single issue, Number 7, Spring 1954. Octavo. 191pp. Illustrated from black and white photographs, color plates. Text in Italian. Illustrated wrappers. Pages lightly age-toned, spine ends and corners bumped, very good. A collection of art, dance, music, poetry, science and more. Contributions by E.B. White, John Hall Wheelock, Daniel G. Hoffman, George Boas, and many more.

Volume: 1 23x15 cm., in brossura, pagg. 192 (3), numerose illustrazioni in bianco e nero e alcune tavole a colori, prima edizione, in italiano, dorso leggermente scollato all'interno, ma buon esemplare.

First Edition. Very good copy in the original gilt-blocked cloth. Spine bands and panel edges somewhat rubbed and dust-toned as with age. Remains quite well-preserved overall: tight, bright, clean and strong. Half-leather. Physical description; 1 preliminary leaf, [v]-xii, 435 pages : illustrations ; 22 cm. Subjects; Art Philosophy. Composition (Art). 3 Kg.

Volume: 1 22,5x15 cm., in brossura, copertina grafica, pp. 199 (9), 37 illustrazioni, di cui alcune a colori, su tavole in carta patinata, fuori testo, e alcune figure nel testo, prima edizione, in italiano, con alcuni contributi in lingua originale con italiano a fronte; piccola lacerazione al margine laterale della copertina, s.d.; normali segni d'uso e tempo, buone condizioni. Allegati bollettino postale e opuscoletto editoriale.

Volume: 1 22,5x15 cm., in brossura, pp. 197 (4), prima edizione, in italiano, con traduzione a fronte di alcuni testi in inglese, 30 illustrazioni in nero e alcune a colori su tavole in carta patinata fuori testo, alcune figure nel testo, normali segni d'uso e tempo, buone condizioni. Allegati: bollettino postale e opuscolo editoriale.

Volume: 1 22,5x15 cm., in brossura, copertina grafica, pp. 199 (4), 32 illustrazioni, di cui alcune a colori, su tavole in carta patinata fuori testo, prima edizione, in italiano, poesie in inglese con italiano a fronte. normali segni d'uso e tempo, buone condizioni. Allegato opuscoletto editoriale.

First Edition. Very good copy in the original gilt-blocked cloth. Spine bands and panel edges somewhat rubbed and dust-toned as with age. Remains quite well-preserved overall: tight, bright, clean and strong. Half-leather. Physical description; 1 preliminary leaf, [v]-xii, 435 pages : illustrations ; 22 cm. Subjects; Art Philosophy. Composition (Art). 1 Kg.

Rilegato. Condition: ottimo. senza sovraccoperta. prima edizione. Formato in 16°; XVI-16-1368-3 pagine. Legatura editoriale in tela cerata: piccolo taglio al dorso.

Firenze, pubblicato in Italia dalla Casa Editrice G.C. Sansoni . per la Intercultural Publications Inc., New York (Tipografia Enrico Ariani e l'Arte della Stampa), 1954, estate, e 1956, primavera, Edizione originale. Esemplari bruniti e un po' fragili a causa della qualità scadente della carta utlizzata. Per la prima volta diffusi al pubblico i testi originali che facevano da raccordo delle varie parti dell'antologia «Americana» e che furono definitivamente censurati con intervento diretto del ministero della cultura popolare Alessandro Pavolini nell'estate del 1942: il libro era già pronto impaginato e stampato, dunque si procedette a una gravosa e delicata operazione di sostituzione dei sedicesimi contenenti i testi di Vittorini, sostituiti con un assemblaggio di testi critici vari (tra cui anche di Vittorini, manco a dirlo) nel tentativo di svilire il giudizio sulla narrativa americana. Nell'immediato dopoguerra Vittorini era tornato sull'argomento con tre saggi dedicati alla letteratura americana apparsi sul «Politecnico»; ma poi si era fermato. Tra 1954 e 1956 pubblica dunque i testi di «Americana» per la prima volta, in un percorso di revisione della propria opera che sfocerà definitivamente nel «Diario in pubblico» del 1957. Appaiono quindi per la prima volta su «Prospetti» i primi cinque (I-V, n. 8) e i successivi tre (VI-VIII, n. 15) corsivi di Vittorini: manca l'ultimo, il nono, che era dedicato alle prospettive della narrativa americana nel 1942 ma la storia aveva preso un altro corso, come spiega l'autore nelle preziose introduzioni originali a queste due edizioni. C. Pavese, L'avventura di "Americana" (Milano 2018), in part. pp. 76-88 2 voll., in 8°, brossura disegnata da Clemens L. Mirmont (n. 8) e Alvin Lustig (n. 15), pp. 205 [3] e 269 [3], con un sedicesimo e un quartino di immagini b/n in carta patinata fuori testo in ciascun fascicolo. Edizione originale. Esemplari bruniti e un po' fragili a causa della qualità scadente della carta utlizzata. brossura disegnata da Clemens L. Mirmont (n. 8) e Alvin Lustig (n. 15),

Volume: 1 25x18 cm., legatura in mezza pelle, piatti marmorizzati con illustrazione applicata, titolo in oro sul dorso, tagli con fregi, pp.660, oltre 400 illustrazioni in bianconero nel testo, prima edizione, in italiano, buone condizioni, esemplare ben conservato.

Brossura. Condition: Discreto. Prima edizione. Prima edizione. Cm.20,4x13,8. Pg.X, 140. Brossura editoriale con lieve abrasione alla cuffia superiore. Al piatto anteriore dedica manoscritta dell'Autore. 250 gr.

Condition: BUONO. Torino, Stabilimento Tipografico Fontana cm.16x24,5, pp.XII,1090, numerose piccole ill. xilografiche nt., rilegatura coeva in mz.pelle, titoli e fregi in oro al dorso, risguardi marmorizzati. (erniere interne distaccate dal blocco libro.) Prima edizione italiana illustrata e soprammodo aumentata da G.B.Carta.

Hardcover. Condition: very good. Full title: "Le fabbriche e i disegni. raccolti ed illustrati da Ottavio Bertotti Scamozzi. Opera divisa in quattro Tomi con Tavole in rame rappresentanti le Piante, i Prospetti, e gli Spaccati." Vicenza, Italy: Giovanni Rossi, 1796, 1797, Tome I, II, III, IV (complete) The 4 books bound in 2 volumes. 616 pages total. This is the first quarto edition of the same work published as folio earlier), bound together with "The Baths of the Romans". Two works with a total of over 230 plates, (including many fold-outs) illustrating a large part of the architectural works created by Palladio and his studies of classical architecture. --- The volume dealing with the 'Baths of the Romans' present here is rather rare and very often missing, which is why few complete series exist. First Italian edition in 4to, abridged copy of the major work published in Vicenza by the same printer in 1776-1783, containing Palladio's entire work, edited by the architect Bertotti Scamozzi (Vicenza 1719-1790). --- --- Beautiful clean copy with 5 volumes bound in 2 volumes. Later marbled hardback binding with gold title on a tag on the smooth spine. The frontispiece is a portrait of Palladio drawn by Davide Rossi and engraved by Pietro Bonato. 208 copper-engraved plates and mostly fold-outs on 207 sheets, plate 33 is missing, (almost always missing), . --- Copy also contains 'The Baths of the Romans' drawn by Andrea Palladio and republished with the addition of some observations by Ottavio Bertotti Scamozzi in 1797 with a portrait of Palladio and 25 copper-engraved plates by Antonio Mugnoni and partly folded. Good state of conservation of the work. In VERY GOOD condition. Some pages are uncot. Light foxing on only a fe pages. Otherwise very clean, printed on very good paper. ---- ---- Palladio is best known for his Quattro Libri dell'Architettura (The Four Books of Architecture), published in 1570 and considered the foundation of modern architecture. This edition was published in Vicenza (the city where Palladio practiced) and was edited by Ottavio Bertotti Scamozzi, who began studying Palladio's work in 1776. These books are part of the 1796 edition of the complete collection of the architectural works of Andrea Palladio, one of the greatest architects of the Renaissance. Andrea Palladio, pseudonym of Andrea di Pietro della Gondola (Padua, November 30, 1508 Maser, August 19, 1580), was an Italian architect, architectural theorist and scenographer of the Renaissance, citizen of the Republic of Venice. Influenced by Greco-Roman architecture, especially by Vitruvius, he is considered one of the most influential personalities in the history of Western architecture. He was the most important architect of the Venetian Republic, in whose territory he designed numerous villas that made him famous, as well as churches and palaces, the latter mainly in Vicenza, where he trained and lived. He published the treatise The Four Books of Architecture (1570) through which his models had a profound influence on Western architecture; the imitation of his style gave rise to a movement destined to last for three centuries, Palladianism, which harks back to the principles of classical antiquity. Most of his buildings are protected as a UNESCO World Heritage Site, called City of Vicenza and the Palladian Villas of the Veneto. Andrea Palladio's cultural education took place under the guidance and tutelage of the humanist Gian Giorgio Trissino dal Vello d'Oro, probably the most prominent intellectual in a city where the most famous artist at the time was Valerio Belli, an engraver, in contact with Michelangelo Buonarroti and Raffaello Sanzio, and whose house had so amazed Vasari. Gian Giorgio Trissino, a cultured and refined nobleman, a scholar of the Italian language and an amateur architect, in 1535 wanted to renovate his villa on the outskirts of Vicenza, purchased by his father Gaspare in 1482: in designing the main façade facing south he drew inspiration from Raphael's solutions for Villa Madama, with a loggia with double arches placed between two turrets, one of which pre-existed: the tower at the side of a body composed of a portico with a loggia on the upper floor is a typical scheme of 15th-century Vicenza architecture. Trissino breaks with this tradition and, in keeping with the humanistic and neoplatonic spirit, composes the interior spaces following a rigorously proportional and symmetrical scheme: the lateral rooms are linked to each other by a system of interrelated proportions 1:1; 2:3; 1:2. In this way Trissino anticipated the model that would later become a significant feature of the organization of the rooms with Palladio. Tradition has it that among the workers employed in the works was the young Andrea, noted by Trissino for his ability. It was Gian Giorgio Trissino himself who took him with him to Rome on his educational trips in contact with the classical world and introduced him to the Vicenza aristocracy. This is the small quarto edition of the same work published in folio in 1796.

Legature coeve in piena pelle con nervi, fili e titoli oro su tassello al ds. Tagli rossi. Carte di guardia marmorizzate. Legature omogenee ma con una lieve diversità di colorazione della pelle: più scuri il primo volume di testo ed il relativo volume di tavole. Tracce di abrasioni ai piatti e qualche lieve difetto alle cuffie. Interni freschissimi. Prima edizione. Le splendide tavole furono disegnate e incise da Davide Rossi, Gaetano Testolini e Gaetano Vichi, con solo alcune delle prime incise da Cristoforo Dall Acqua, M. Sebastien Giampiccoli e Santini. Provenienza: collezione Moretti, Roma (timbretto ex libris ai frontespizi). Cfr. Fowler, 231; Cicognara (n. 598): . Ottavio Bertotti Scamozzi fece cosa nobile e grandiosa nel produrre queste grandi opere Palladiane, e nell illustrarle . Folio (cm. 50,6), 4 Voll. (i primi due di testo, il terzo ed il quarto di tavole); 84-86 pp., 1 c.nn. bianca; 59(1)-59(1) pp.; 54 pp., 1 c.nn. bianca, 55(1) pp.; 71(1)-70 pp., 1 c.nn. bianca. Ritratto del Palladio inciso da Simon François Ravenet su disegno di Davide Rossi, una tavola non numerata e 209 tavole numerate (di cui 34 a doppia pagina). Capilettera e fregi xilografici n.t.

Hardcover. Condition: Good. 1st Edition. Le fontane di Roma nelle piazze, e luoghi publici della città, con li loro prospetti, come sono al presente. Roma: Giovanni Giacomo de Rossi, [ca. 167078]. Four parts in one. Oblong folio. FIRST EDITION. The date of the privilege of 1691 was added later to the title plate in part one (see TIB), and the series must have been made before Falda's death in 1678. Includes 31 (of 33) engraved plates in part one. Other titles include Le fontane delle ville di Frascati nel tusculano, con li loro prospetti; with 17 (of 18) engraved plates; Le fontane ne palazzi e ne Giardini di Roma con li loro prospetty et ornamenti; with 27 (of 28) engraved plates; and Le fontane del giardino estense in Tivoli con li loro prospettie vedute della cascata with 25 (of 28) engraved plates (plate 21 of part 4 trimmed at upper margin). 100 (of 107) total engraved plates, few folding, (including titles and frontispieces) of the Roman public fountains that were designed by the most famous architects of the time including Michelangelo, Maderno, Domenico Fontana, Giovanni Fontana, Giacomo della Porta, Berrettini, and Bernini. All four parts bound in later full calf (laid down) and rebacked with modern brown morocco, raised bands, upper compartment titled in gilt, marbled endpapers (pale spotting to margins). RARE. TIB 4725.005.037 (The Illustrated Bartsch). This is the first set in an early album that contains all four of Rossi's series of plates of fountains in fine impressions. The first two parts are of Rome and Frascati by Falda; the third and fourth are of Rome and Tivoli by Venturini. Rare.

5 volumes bound in four. First Edition by Rossi and a RARE complete copy of the Rossi printing of the architectural works of Palladio. Profusely illustrated throughout with 236 fine engravings. Book I with engraved portrait of Palladio as the frontispiece and 52 other finely engraved plates, many of which are folding. Book II with 51 beautifully engraved plates, many of which are folding. Book III with 52 engraved plates of which a number are folding. Book IV with 54 engraved plates. The RARE Volume V with an additional engraved portrait of Palladio at the front and 25 additional engraved plates of which most are folding. Quarto, handsomely bound at the time in three-quarter antique Italian calf over marbled boards, the spines with gilt bands and contrasting sepia and dark green morocco labels, lettered and numbered and decorated in gilt. viii, 128, 52 engraved plates; iv, 76, 51 engraved plates; iv, 60, 52 engraved plates; iv, 80, 54 engraved plates; portrait + 59, 25 engraved plates pp. An unusually fine survival, complete with the RARE 5th volume and beautifully preserved. The spines and bindings in very pleasing order, the text blocks and illustrations crisp, clean and unpressed. A fresh and handsome copy gently aged. AN UNUSUALLY FINE AND HANDSOME COPY OF THIS RARE BOOK. THE FIFTH VOLUME IS RARELY ENCOUNTERED AND SETS OF THE FOUR ARE OFTEN LACKING A VOLUME OR A NUMBER OF PLATES. THIS IS AN ESPECIALLY DESIRABLE COPY, COMPLETE IN ALL RESPECTS. Rossi's printing of 1796-1797 is a fine and beautiful quarto edition of the master's four books on architecture with additions provided in the fifth volume. Palladio's designs and work to this day remain the central pillar of classical architecture and all architecture which followed. Such early antique editions are truly scarce and here retains its original sophistication. 'Palladio's lasting influence on architectural style in many parts of the world was exercised less through his actual buildings than through this, his textbook. The book is divided into four sections: orders and elementary problems, domestic building, public building and own planning and temples. Palladio's style was directly inspired by Roman classical models through the writings of Vitruvius and Alberti. Its characteristics are those of classicism: symmetry, order, fixed mathematical relations of the parts to each other and to the whole, logic and monumentality. Palladio followed the rules of classical Roman architecture more closely than any other architect.In spite of the vogue for the baroque and the fact that Palladio left no immediate successors, his book exerted a powerful influence on contemporary architecture and classical ideals until the end of the eighteenth century. As a practicing architect Palladio worked mainly in Vicenza, Venice and the Venetian countryside, especially along the Brenta River. His Villa Capra (known as La Rotonda) near Vicenza became virtually a prototype of the Palladian style, and it was widely and faithfully copied. At the end of his life he left plans for the tour de force of trompe l'oeil, the Teatro Olimpico in Vicenza, which was finished by his pupil Vincenzo Scamozzi.' PMM 92 In 1732-1733, Ware's English edition was produced with the assistance of Lord Burlington and it surpassed all earlier English editions in its faithfulness to the original. A very skilled draughtsman and engraver, Ware exactly traced and engraved the plates for his edition from Palladio's original drawings in Burlington's collection. The additional fifth volume, here provided emanates from these drawings in Lord Burlington's collection. As for the Englishman Ware (d. 1766)--he is reported "to have been originally a chimney-sweeper's boy whom an unknown patron found drawing with chalk at Whitehall. He was sketching the elevation of the banquet house upon the basement walls of the building itself, and is said to have made similar sketches of the portico at St. Martin's-in-the-Fields" (DNB). He developed into an eminently competent architect, among whose works were counted Chesterfield House, South Audley Street, of which Philip Dormer Stanhope, fourth earl of Chesterfield, took possession in 1749; he also built, for his own use, No. 6 Bloomsbury Square, which was inhabited later by Isaac D'Israeli. Rossi's is an excellent presentation of Palladio's magnificent work. A remarkably fresh and clean survival with plates beautifully struck and this copy with fine dark images. The text in excellent order as well.

Couverture souple. Condition: Comme neuf. Edition originale. Vatican 2011. -- Volume 2, solo -- Brossura / Broché. Format in-8°(.25 x 17,5 cm )(.1621 gr ). ------ 821 pagine. 8 Tavole. **************** [ STUDI E TESTI N° 466 ] ************** Ref fav-06-03-07.

brossura. Condition: New. Dust Jacket Condition: New. First Edition. LIBRO NUOVO- NEW BOOK.

Soft Cover. Condition: New. Dust Jacket Condition: New. First Edition. LIBRO NUOVO - - 235 pag IN ITALIANO.

Soft Cover. Condition: New. Dust Jacket Condition: New. First Edition. LIBRO NUOVO - NEW BOOK - pag. 235 IN ITALIANO.

Couverture souple. Condition: Comme neuf. Edition originale. Vatican 2011. -- 2 Volumi -- Brossura / Broché. Format in-8°(.25 x 17,5 cm )(.3042 gr ). ------ 736 & 821 pagine. 8 Tavole. **************** [ STUDI E TESTI N° 466 ] ************** Ref fav-06-03-07.

Brossura. Condition: Discreto. Prima edizione. Prima edizione. Cm.26x16,5. Pg.XVI, 1496. Coperta posticcia, con piatto originale anteriore applicato. Tracce d'uso. Esemplare in barbe. Monumentale raccolta di fonti di storia risorgimentale dal 1815 al 1848. 1700 gr.

Brossura. Condition: buone. Prima edizione. Prima edizione. Cm.19,4x13. Pg.48. Con tre incisioni, due delle quali in grande formato, e una pianta della città in formato cm.58x70. Dedica manoscritta dell'Autore. > Opera non segnalata in Fossati Bellani. 100 gr.

3 Bde. (von 4). VIII, 128 SS. Mit gest. Frontispiz und 52 teils mehrf gefalt. gest. Tafeln. IV, 76 SS. Mit 51 Tafeln. IV, 60 SS. Mit 52 Kupfern auf 50 teils mehrf. gefalt. gest. Tafeln. Einheitl. gebundene marmorierte Lederbände der Zeit mit Rückentitel und -vergoldung sowie goldgepr. Deckelbordüre. Gr.-4to. Wohl dritte italienische Ausgabe dieser Reihe, seltener als ihre zugleich erschienenen Pendants in französischer Sprache bzw. "con la traduzione Francese". Die erste Ausgabe erschien 1776-81, ebenfalls in Vicenza. - Reich illustrierte Ausgabe des bedeutendsten Werkes jenes Architekten, "der die stärkste und nachhaltigste Wirkung auf die Baukunst ganz Europas ausgeübt hat" (Thieme/B. XXVI, 165). Die Tafeln zeigen Grundrisse, Aufrisse, Fassaden und architektonische Details. Einbände berieben, Ecken und Kanten bestoßen, Kapitale etwas lädiert. Innen sauber und praktisch fleckenfrei. Wie meist fehlt der vierte und letzte Band der Reihe, die ersten drei jedoch wie vorliegend komplett. - Vgl. Kat. der Ornamentstichslg. Berlin 2722. Fowler 231. Avery 745.

Brossura. Condition: Buono. Prima edizione. Prima edizione. Cm.22x15. Pg.(6), 48, (4). Coperta originale in cartoncino rigido, con titoli inquadrati in bordura ornamentale agli specchi. Con 10 tavole calcografiche e all'acquatinta fuori testo, opera di Ladislaus Rupp e Giuseppe Castellini, fra cui una veduta del duomo, collazionata all'antiporta. Frontespizio con caratteri calligrafici impressi da Prada. Fresca impressione, esemplare a buoni margini. Edizione originale di una pubblicazione, curata dallo stampatore Ferdinando Artaria, che sintetizza e riassume le pubblicazioni fino ad allora uscite sul duomo di Milano. Così viene descritta nel 1821 da Gaetano Franchetti nella dedicatoria alla sua "Storia e descrizione del duomo di Milano": "Finalmente nello scorso 1820 il signor Artaria diede alla luce una "Nuova descrizione" corredata di alcune tavole in rame. Questa è la prima di così celebre tempio che sia stata pubblicata con sufficiente ordine ed eleganza tipografica". Complicata la collazione dell'apparato iconografico, come sovente accade nelle edizioni dell'Artaria e più in generale nelle pubblicazioni divulgative della prima metà dell'800, quando si diffondono le prime tecnologie introdotte dalla rivoluzione industriale. Sempre ovviamente in riferimento alla presente edizione 1820, ICCU\LO1E\015522 segnala la presenza di 16 tavole, Salveraglio ne annota 15, nella copia digitalizzata della "Stadt Bibliothek" di Zurigo ne compaiono addirittura 38, di cui due ripiegate. Il nostro esemplare ne annovera dieci, ed è probabilmente il più diffuso. > Salveraglio / Boito, "Il duomo di Milano e i disegni per la sua facciata" (Bibliografia), 22. Predari, 133, segnala l'edizione Artaria del 1823 (con 65 tavole). 200 gr.