Botticelli.

Firenze, Octavo Ed. 2000, cm.26x29, pp.240, con numerose illustrazioni e tavole a colori nel testo, legatura editoriale in mz.tela, piatto anteriore figurata a colori.

Firenze, Octavo Ed. 2000, cm.26x29, pp.240, con numerose illustrazioni e tavole a colori nel testo, legatura editoriale in mezza tela, piatto anteriore figurata a colori.

Firenze, Giorgio & Piero Alinari Ed. 1922, cm.17x24,5, pp.66, 92 tavv.figurate mono e bicromatiche ft. brossura Collana I Grandi Maestri dell'Arte Italiana.

Roma, Casa Editrice d'Arte "Valori Plastici" 1948, cm.19x27, pp.146, 200 fototipie fuori testo in append, legatura editoriale cartonata, sopracoperta figurata.

Tome premier: Armance; Le Rouge et le Noir; Lucien Leuwen. Tome second: La Chartreuse de Parme; Chroniques Italiennes; Romans et Nouvelles; Lamiel. Préface et présentation de Samuel S. de Sacy. Paris, Aux Editions du Seuil 1969, 2 voll., cm.17x22, pp.XXVII,622; 701, alcune ill.e tavv.in bn.nt.e ft., legature editoriali in tutta tela, titoli in oro al piatto ant.e al dorso, doppie sovraccop. (fig.e trasparente). Ottimo esempl.

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.