AA.VV.
Marsilio Editori

AA.VV.
Marsilio Editori

Vasilij Ivanovic Cujkov
Arnoldo Mondadori Editore

Angelo Semeraro
Edizioni Pensa MultiMedia

Alan Gauld, John Shotter
Città Nuova Editrice

Kenneth O. Morgan
Bompiani

Questo volume redatto da dodici storici si propone di individuare ed esporre le componenti principali della storia britannica dall'epoca romana ai nostri giorni. Non solo il proteiforme concetto di "carattere nazionale", difficile da definire anche a prendere in considerazione i soli inglesi e pressochè impossibile considerando le tradizioni particolari di gallesi, scozzesi e irlandesi, questa storia intende piuttosto mettere a fuoco i molti tratti politici, sociali, economici, religiosi, intellettuali e culturali delle isole britanniche, come sono andati rivelandosi a generazioni successive.

Antonello Pagliuca
Gangemi editore SpA international publishing

La ricerca parte dallo studio di un edificio fortemente interessante per la storia culturale della città di Matera: il Mulino Alvino; si tratta del primo mulino costruito, in funzione per quasi un secolo ed oggi trasformato in "Museo delle Arti Bianche". L'interesse scientifico è stato focalizzato prevalentemente sui sistemi tecnologici e costruttivi; dopo diverse ricerche e analisi svolte in loco, è stato possibile ricostruire le vicende costruttive legate alle trasformazioni che hanno interessato la fabbrica nel corso del tempo. Da questa analisi è emerso un dato estremamente interessante: essa recepiva (in termini di sperimentazioni tecnologiche e costruttive) tutte le "avanguardie" proprie del tempo in cui venivano realizzate le trasformazioni. Da questa considerazione, è stato sviluppato uno studio sui vari sistemi costruttivi (in particolare sugli orizzontamenti in laterocemento, nelle sue diverse declinazioni) che sono andati sviluppandosi nel corso del tempo. In sintesi: alla ricostruzione costruttiva del mulino si accompagna una classificazione dei sistemi costruttivi propri di ciascun decennio in cui sono avvenute le varie trasformazioni.

Christian Norberg-Schulz
Skira editore

Carlo Pirovano
Electa editrice

Angela Vettese
Allemandi

Luigi Zanzi
Jaca Book

Renato Rigamonti
FrancoAngeli

AA.VV.
Edizioni Alfa

s.a.
Istituto Geografico Militare

Spirals 1969

Crayons on paper, drawings on both front and back. The back features a Roberto Crippa General Catalog tag with catalog number. The work is accompanied by a photo certificate from Galleria Pace in Milan, signed by the artist and containing technical data (this photo corresponds to the drawing currently on the back of the frame, likely due to an error in mounting it in the frame). Roberto Crippa was an exponent of Italian Spatialism, for which he signed the Third Manifesto drafted by Lucio Fontana in 1950. His works are characterized by abstract geometric figures, which from 1955 onwards became polymaterial, created by assembling various materials, even very different from each other (iron, bronze, asbestos, cork, tissue paper), then united by color. In the early 1950s, Crippa began his series of paintings called Spirali, geometric and abstract in nature: with a quasi-circular (but never perfectly round) geometric gesture, Crippa created convoluted spaces, from which rays were generated that ideally projected out of the two-dimensionality of the canvas. Framed work.

England, Late XIX Century

Victorian bookcase in mahogany and crotchet mahogany. Base with a pair of paneled doors surmounted by curved drawers, uprights with scroll carvings. Lower base with non-contemporary bracket feet. Upper section composed of two open elements with four shelves. Modifications. England, late 19th century.

Ieronimo Ruscelli
Comin da Trino di Monferrato

Italy, Mid XIX Century

Louis Philippe walnut cupboard. Pair of doors surmounted by a central drawer, the shelf supported by four turned columns and "X" elements, turned feet, poplar interior. Minor losses. Italy, mid-19th century.

Antonio Parronchi
Parronchi

Italy, 1980s

Double-chamber Neapolitan coffee maker from the Alessi "La Tavola di Babele" series, made of stainless steel with a Canaletto walnut handle and grip. Winner of the 1981 Compasso d'Oro Award. Manufacturer's mark stamped on the side.

Italy Late XVIII - Early XIX Century

Directoire cherrywood writing desk, drawer in the lower section with missing flush-fitting opening, truncated pyramidal legs. Italy, late 18th/early 19th century.

Swatch GZ408 Jingle Jangle X-Mas Special was the special Christmas gift of 2003, limited to 14,999 pieces worldwide. Sold in the original silver box, which contains the transparent sleigh resting on a red fabric and the watch acts as reins for the stuffed reindeer, which can be attached to the watch with a small suction cup. The silver dial depicts a reindeer, equipped with red hands and a date window at 12 o'clock. Twelve small bells, similar to the rattles on reindeer harnesses, ring in rhythm with the movements of the arm at each end of the strap. The leather strap with a red fabric surface and a shiny silver edge is an additional visual highlight. In limited edition packaging. New, unused, and unworn Swatch watch. In original packaging. Watch with quartz movement, red strap edged in silver with silver bells, silver case, round red dial, red hands. Watch case size 34mm.

Italy, XVIII Century

Poplar chest, side panels serving as carrying handles, curved top, interior embellished with a painting depicting knights and a lady. Italy, 18th century.

Spirals 1969

Crayons on paper, drawings on both front and back. The back features a tag from the Roberto Crippa General Catalogue, with the catalog number. The work is accompanied by a photo certificate from Galleria Pace in Milan, signed by the artist and containing technical data. Roberto Crippa was an exponent of Italian Spatialism, for which he signed the Third Manifesto drafted by Lucio Fontana in 1950. His works are characterized by abstract geometric figures, which from 1955 onwards became polymaterial, created by assembling various materials, even very different from each other (iron, bronze, asbestos, cork, tissue paper), then united by color. In the early 1950s, Crippa began his series of paintings called Spirali, of a geometric and abstract nature: with a quasi-circular (but never perfectly round) geometric gesture, Crippa created convoluted spaces, from which rays were generated that ideally projected outside the two-dimensionality of the canvas. Framed work.