Canti di Castelvecchio.

Ventesima edizione. Livorno, Raffaello Giusti Editore 1927, cm.17x23, pp.XIII,209, legatura editoriale in tutta tela, fregi e titoli in oro al piatto anel testo e dorso. Coll.Poesie di G.P. Esemplare eccellente.

Scelta e annotata da Piero Treves. Firenze, Edizioni Alinari 1980, 2 voll. di 2, cm.16,5x24,5, pp.814; 218, 100 tavv.in bn.nt., legature editoriali in tutta tela, titoli al dorso, sopraccoperta.

Bologna, Zanichelli Ed. 1954, cm.16,5x23, pp.XIV,149, alcune tavv.a col.appl.ft. legatura ed.in tutta tela, fregi e titoli in oro al piatto ant.e dorso. Coll.Poesie di Giovanni Pascoli,IX.

Verona, Arnaldo Mondadori Ed. 1931-1945, cm.16x23, pp.XIV-254, brossura Coll.Poesie di Giovanni Pascoli,IV.

A cura di Ernesto Sestan. Napoli, Ricciardi Ed. 1957, cm.14,5x23, pp.LVIII,1268, legatura ed.in tutta tela, sopracop. in custodia. Coll.Letteratura Italiana,Storia e Testi,68.

Firenze, Olschki Ed. 2013, cm 21,5 x 32, xvi-174 pp. con 91 tavv. f.t. Rilegato. English text. Arte e archeologia - Studi e documenti, 32. Inglese Giovanni Bastianini, probabilmente il miglior imitatore fiorentino della scultura italiana rinascimentale dell'Ottocento, è stato oggetto di una controversia che continua ancora oggi. Analizzando la dicotomia tra il suo stile pseudo-rinascimentale e contemporaneo, Moskowitz pone saldamente la sua figura nel contesto economico, politico e culturale del Risorgimento. Europei e Americani, desiderosi di assimilare l'atmosfera di una perduta Età dell'Oro, rappresentarono un mercato pronto a incoraggiare la produzione di arte neorinascimentale. / Giovanni Bastianini, arguably the most gifted Florentine imitator of Italian Renaissance sculpture during the 19th century, became the subject of controversy that continues to this day. While exploring the dichotomy between his pseudo-Renaissance and his contemporary ‘period’ style, Moskowitz places him firmly within the economic, political and cultural context of the Risorgimento. Both Europeans and Americans, eager to imbibe the atmosphere of a lost Golden Age, formed a ready market that encouraged the production of neo-Renaissance art.

WIse, 1999, Book+CD cm.23x30, pp.56, br, Guitar Tablature. Standard notation and Tablature. Buddy Holly was one of the first major rock'n'roll groundbreakers. He wrote his own songs, recorded with a self-contained guitar-bass-drums combo and even changed the image of what a rock singer could look lie. His vocal style and mature, melodic compositions inspired many of the rockers who would emerge in the 60s and 70s, from the Beatles and Bob Dylan to the Hollies. The combination of musical notation and guitar tablature in this book together with the backing tracks on the CD gives you the opportunity to learn eight of Buddy Holly's tracks note for note and then jam along with a professional session band. the track listing reflects some of Holly's most popular recordings, providing something for guitarists to have fun with and improvise with, as well as something to aspire to. This guitar workshop is a powerful learning tool that will help you develop your riffs, licks and improvisational skills. The CD is split into two sections; section 1 is the backing tracks minus lead guitar & vocals, while section 2 is the backing tracks with all guitar parts added, so in addition to the written tab you can hear the rhythm, fills and solos as they should be played! The 'Jam With...' series allows you to accurately recreate the original songs, or to use the transcriptions in this book in conjunction with the backing tracks as a basis for your own improvisation.

Londra, Barrie & Jenkins 1967, cm.21x30, pp.152, con illustrazioni. Legatura editoriale in tutta tela, con sovraccoperta figurata a colori.