De l'Amour.

Introduz.di Pietro Paolo Trompeo. Note a cura di Vittorio Del Litto. Traduz.di Cesare Giardini, Diego Valeri et al. Milano, Sansoni 1993, 2 voll., completo, cm.14x22, pp.XLIV,1441; 1676, legature editoriali cartonate, copp.figg.a col. Stato di nuovo. Collana La Grande Letteratura.

Introduction et notes par Henri Martineau. Paris, Fernand Hazan 1949, cm.11,5x19, pp.643,(2), brossura, copertina con bandelle, custodia. (firma coeva di appartenenza a custodia e occhietto ma buon esemplare.). Collection Les Classiques du Monde.

Préfaces de S.de Sacy et de Henri Martineau. Paris, Le Club Français du Livre 1961, cm.13,5x21, pp.XXIX,710,(14),XVII,260,(12), legatura ed.in skivertex, titoli in oro al piatto ant.e al dorso, segnalibro in stoffa. Dorso insolato ma buon esempl. Collection Les Portiques,7.

Texte établi avec introduction, bibliographie, chronologie, notes et variantes par Henri martineau. Paris, Editions Garnier Frères 1950, cm.12x18,5, pp.XXXIV,605, brossura (ammaccatura alla base del dorso ma copia in buono stato.) Collection Classiques.

London, Yale University Press 2001, cm.25,5x33, pp.278 illustrato a colori., legatura editoriale cartonata, sopraccoperta figurata a colori. Allen Staley’s book The Pre-Raphaelite Landscape igniteda revival of interest in Pre-Raphaelite painting nearly three decades ago. Reintroducing the small group of young English artists who in 1848 founded the Pre-Raphaelite Brotherhood, this landmark book helped to attract both scholars and a new generation of admirers to the brilliant and audacious work of the Pre-Raphaelites. In this completely revised and updated second edition, Staley takes into account important artworks that have recently come to light as well as current understandings of the Pre-Raphaelite movement and its legacy. This lovely volume is greatly enhanced by more than 150 luminous color illustrations. Ranging widely in this volume, Staley offers a comprehensive account of the formation of the Brotherhood, the artists’ theoretical concerns about depictions of the natural world, and the emergence and impact of a school of Pre-Raphaelite landscape painting. Staley also discusses all the figures important to Pre-Raphaelitism: the artists (among them John Everett Millais and William Holman Hunt), their associates (Ford Madox Brown, William Dyce), the landscape specialists they influenced (Thomas Seddon, George Price Boyce), and their most articulate supporter, John Ruskin.