Geshe Lhundup Sopa, Jeffrey Hopkins
Casa Editrice Astrolabio-Ubaldini Editore

Christian Geelhaar
The Friends of the Kunstmuseum Basel

Francesca Rapposelli
Gruppo San Luca - Onlus

Jean-Marie Lhote
Hachette Editeur / Massin

s.a.
Liveraison

Mino Maccari
Maschietto e Musolino

James Ellroy
Arnoldo Mondadori Editore

L'azione si svolge a Los Angeles fra il 1951 e il 1955 e protagonista è il poliziotto di pattuglia Frederick Upton Underhill. E' un uomo affascinato dal suo lavoro che gli permette di conoscere i lati più oscuri e misteriosi della realtà. Sconvolto dalla morte del suo compagno di pattuglia, Fred finisce a Watts, nel cuore di tenebra di Los Angeles e quando la protagonista di una delle sue avventure notturne, Maggie, muore strangolata, decide di svolgere da solo un'indagine che lo trascinerà in una serie di guai e di tragiche complicazioni.

Jules Compte
s.e.

John Esten
Universe Publishing

"Why Don't You . . . tie black tulle bows on your wrists?have a yellow satin bed entirely quilted in butterflies?remember how delicious champagne cocktails are after tennis or golf? Indifferent champagne can be used for these." For more than half a century, Diana Vreeland, doyenne of American fashion, beguiled, awed, astonished, and was adored by almost anyone who created or wore clothes. Irresistible and flamboyant, socialite Mrs. T. Reed Vreeland began her now legendary twenty-five-year tenure at "Harper's Bazaar writing a column of audacious advice: extravagant ideas that helped redefine American women and twentieth-century fashion. Her commentary created a fashion frenzy when it began appearing in "Harper's Bazaar in 1936. Her ideas were simultaneously stylish and outrageous, and have as much appeal today as they did decades ago. Here for the first time, John Esten has compiled one hundred of Mrs. Vreeland's kaleidoscopic "Why Don't You . . . ?" suggestions, and pairedthem with the breathtaking works of such renowned photographers and artists as Munkacsi, Dahl-Wolfe, Hoyningen-Heune, and Berard, which further capture the dazzling legacy of whimsy, elegance, and style of Mrs. Vreeland's "Bazaar years.

Stephen King
Arnoldo Mondadori Editore

David Sylvester
Skira

Dal 1962 al 1986, il critico d'arte David Sylvester ha raccolto nove interviste a un controverso protagonista dell'arte europea del Novecento: il pittore inglese Francis Bacon. Il volume si pone come strumento di riflessione per gli artisti e i critici d'arte, ma anche per chiunque voglia capire una vicenda artistica ed esistenziale protesa alla verità della condizione umana. L'approccio di Sylvester apre le porte dell'universo di Bacon, scandagliando l'opera di un pittore che ha rivelato all'uomo del XX secolo il suo volto inquietante, liberandolo da ogni maschera o da facili illusioni.

Andrea Gariboldi
Associazione Culturale Mimesis

Demitrio Krekoukias
Casa Editrice Leo S. Olschki

Ripartizione iniziative culturali
s.e.

Giorgio Varanini, Guido Baldassarri
Salerno editrice

Fiora Steinbach Palazzini, Alfredo Peloni
MGS Press

Trentino Mid XIX Century

Walnut drop-leaf, maple and walnut fillets along the entire surface. Front with three drawers, central tripartite drop-leaf top, concealing two drawers and open compartments, flanked by a pair of drawers and secret compartments. Bracket feet, bronze knobs and escutcheons, fir interiors. Trentino, mid-19th century.

Pair of vintage armchairs with chromed metal frame, suede seat. With the original logo.

Adoration of the Shepherds

Oil on canvas. A composition replicated several times by disciples and students of the Bassano school, in particular a work by Jacopo Bassano (1515 -1592). In the original scene, here reproduced with fidelity to the composition of the figures but not to the colors, Bassano had approached the theme on the one hand respecting tradition, on the other introducing innovations. In fact, they act as a scenic backdrop of archaeological ruins, a frequent element in Italian iconography of the Nativity. Here we see a row of broken columns on a high pedestal, on the model of Greek temples, against which a hut is leaning. The unusual architectural structure symbolizes the overcoming of paganism and the construction of the Christian church, of which the birth of Jesus is the first act of foundation. The shepherds occupy the center of the scene, and if it were not for the left side of the painting, it might seem like a genre scene with a rural character. The shepherd from behind is kneeling, showing his bare feet, a reminder of his extreme humility, and holding a lamb, the sacrificial animal par excellence, a reference to the future Passion of Christ. On the far right, a curious insert: a crouching boy blowing on a burning ember, in a futile effort to rekindle a flame. In this replica, the yellow and red colors of the robes of the two shepherds in the center and of the boy on the right stand out, prevailing in vivacity even on the figures of the Holy Family and emerging from the ochre hues of the landscape and the architectural structures in the background. The painting was restored and relined in the 19th century, with the replacement of the frame (on it there is contemporary writing in English, probably export addresses). It is presented in a period frame.

Oil on canvas. Dated 1759 on the back. The painting is a copy of the work by Federico Barocci (1563 -1612) created between 1583 and 1586, preserved in the church of Santa Maria in Vallicella in Rome. The work was a great success and was repeatedly replicated by numerous artists in the same circle or workshop as Barocci; for example, the copy by the pupil Viviani, known as the Deaf Man of Urbino (Barocci was also from Urbino), preserved in the Galleria Nazionale delle Marche in Urbino. The scene depicted is imbued with great intimacy and tenderness: the Virgin Mary is welcomed with an embrace by her elderly cousin Elisabetta on the stairs preceding the entrance. Their hands clasp and their glances meet. Just behind, Zaccaria, Elisabetta's husband, observes while standing on the threshold and leaning out a little to see better. In the foreground there are two other characters, dues ervitori: the man on the left is busy collecting Mary's sack and taking care of the donkey that carried the young woman, while on the right a woman smilingly observes the meeting of the two cousins, carrying a dove in a basket. On the back of the canvas there is an autograph inscription in English, contemporary with the painting: "Giovanni B. Tiepolo, 1759, The Visitation": probably the author of the replica confused the name of the artist of the original, attributing it to the Venetian artist. The English market was very interested in the original work, so much so that it attempted to purchase it in the mid-18th century, and this encouraged the proliferation of replicas. The painting, still on its first canvas, is presented in a late 19th century frame.

France, XX Century

Glass vase decorated with a full-field landscape. Vase obtained by adding coloured glass flakes when the glass is still incandescent. Later, once shaped and annealed, the vase is engraved and decorated. Manufacturer's mark in relief.

Seashore with Boats and Figures

Oil on canvas. Signed lower left. Son of an artist, Cesare Gheduzzi established himself as a landscape painter. Although he lived in Turin, he spent a long time on the Ligurian Riviera, creating wide views of the sea, coastal landscapes and fishermen at work, which he reproduced with fidelity and elegance, while favoring cold colors to create an emotional detachment and favor the scenographic effect (inherited from his father who was a set designer for the Teatro Regio in Turin). It is presented in a contemporary frame.

Lady Style

Pair of vintage armchairs of Italian manufacture from the 1950s in the style of the famous "Lady" designed by Marco Zanuso with upholstery in green and brown imitation leather, original from the period, and metal legs. Seats that lend themselves to being refurbished with expert upholstery work, choosing from the numerous fabrics available in our warehouses.

Vintage height-adjustable office chair with green plastic seat, black armrests, five-star metal base with casters.