La Vita di Entico V. Tragedia in cinque atti.

Nuova traduz.di Diego Angeli. Milano, Fratelli Treves Editori 1922, cm.14x19,5, pp.VI,(2),187,(1), brossura, cop.ornata. (timbro di biblioteca estinta a occhietto e frontesp.; etichetta di collocaz. applicata all'occhietto.) Coll.Teatro di Guglielmo Shakespeare,XVI. Prima edizione. Secondo migliaio.

Nuova traduz.di Diego Angeli. Milano, Fratelli Treves Editori 1928, cm.14x19,5, pp.VI,(2),181,(3), brossura, cop.ornata. [buon esemplare.] Coll.Teatro di Guglielmo Shakespeare,XXIV.

Nuova traduz.di Diego Angeli. Milano, Fratelli Treves Editori 1920, cm.12x19, pp.(8),199,(1), rilegatura coeva in mz.tela, titoli e fregi in oro al dorso. Coll.Teatro di Guglielmo Shakespeare,IX. Prima edizione, Secondo migliaio.

Nuova traduz.di Diego Angeli. Milano, Fratelli Treves Editori 1913, cm.14x19,5, pp.VI,(2),211,(1), brossura, cop.ornata. [buon esemplare.] Coll.Teatro di Guglielmo Shakespeare,X.

Roma, Edizioni di Storia e Letteratura 1961, cm.17,5x25, pp.176, 2 tavv.in bn.ft., brossura intonso. Stato di nuovo. Coll.Politica e Storia, Raccolta di Studi e Testi,7.

Biblioteca Medicea Laurenziana. Firenze, 1980, cm.16,5x24, pp.78, 8 tavv.bn.nt. brossura cop.fig.a colori,

Hal Leonard, 2002, cm.22,5x30,5, pp.88, brossura Trascribed Scores. Vocal,Keyboard,Guitar,Bass,Drum. This songbook features note-for-note band transcriptions (guitar and bass tab, vocal, chorus and drums) for every note played by Sting, Stuart and Andy on seven top Police tunes. Titles include: Don't Stand So Close To Me; Every Breath You Take; Roxanne and more.

Faber Music, 2004, Book+CD cm.22,5x30,5, pp.32, brossura Following on from the very successful After Hours piano volumes, Pam Wedgwood has now penned eight atmospheric pieces for the intermediate clarinetist. They are ideal for teacher or pupil and provide a perfect follow-on for those that have used and enjoyed Pam's highly acclaimed Jazzin' About series. The book contains piano accompaniments, but for extra sophistication a CD of backing tracks is also included. Each piece within the collection has two different backing tracks: the first (full performance) includes the backing track along with the instrumental melody; the second (backing only) presents the backing track alone. The full performance track is provided to help the player to the learn the melody and its interaction with the accompaniment; the melody is played on a marimba to avoid dominating the acoustic 'live' instrument for those players who choose to play along with this version of the backing