Manuale dei Senatori del Regno. Legislatura XXV.

Roma, Carocci Ed. 1999, cm.17x24, pp.170 brossura, Coll.Manuali del Progettista,76.

Spoleto, Rocca Albornoziana, 07/04-30/09/2001. A cura di Livia Velani, Caterina Bon Valsassina. Roma, Ediz.De Luca 2001, cm.24x30, pp.118, num.tavv.a col.nt. brossura cop.fig.a col.

London, Smithsonian Institution Press 2002, cm.18x20, pp.130, 66 tavole bianco e nero nel testo, legatura editoriale, sopraccoperta figurata. Testo in inglese. The tintype, patented in 1856, was a cheap, fast, easy-to-make, practically indestructible type of photograph that became enormously popular among the working class in the late nineteenth century. For common laborers and their families, the opportunity to join the ranks of those who owned pictures of family and friends--the upper classes--was momentous. This collection exhibits more than eighty examples of a specific kind of tintype: occupational portraits, photographs of working people with the tools of their trade. Michael L. Carlebach examines the historical significance of these tintypes and finds that they reveal a great deal about late nineteenth-century values. The subjects of these images are plumbers proudly holding their wrenches and pipe cutters, carpenters with their saws and lathing hatchets, textile workers with their spindles and yarn, icemen with their tongs. These people lived and worked at a time when a depersonalized factory system run by production and efficiency experts was beginning to dominate American industry and culture. Many of the men and women in these tintypes were part of a disappearing class of self-employed artisans and journeymen; their portraits proudly stress their individuality and the essential nobility of their work. The most common reaction of historians to tintypes has been undisguised contempt or, at best, indifference. The photographs were generally seen as hopelessly unartistic and common. Yet Carlebach celebrates these anonymous portraits and finds that they say as much about today's working Americans--who are much more likely to document their toys and leisure activities than their professions--as they do about the working men and women who proudly sat for them in a much different age.

Segrate, Arnoldo Mondadori Editore 2007, cm.15x22,5, pp.219, illustrazioni. legatura editoriale cartonata con sopraccoperta figurata a colori. Collana I Grandi. George vive con il suo maiale domestico Fred e due genitori ecoguerrieri che vorrebbero fare del figlio un coltivatore biologico, anche se a lui, più che a terra, piace guardare in cielo per contare le stelle. Un giorno, grazie a una visita non autorizzata di Fred nel giardino accanto, il ragazzo conosce i suoi nuovi vicini: la fantasiosa Annie, il suo papà scienziato Eric, e anche Cosmos, il computer parlante più potente del mondo. Cosmos è in grado di aprire, al centro del salotto, una porta sulla vasta oscurità dello spazio, attraverso la quale Eric mostrerà ai ragazzi le meraviglie dell'universo, come nasce e muore una stella, o come si formano i pianeti. George e Annie viaggeranno su una cometa, ghiacciata come una grande palla di neve sporca, affronteranno tempeste di asteroidi e buchi neri, ma soprattutto dovranno proteggere Cosmos da chi vuole impadronirsi dei suoi poteri... Età di lettura: da 11 anni.