Hardcover. New York, Weybright and Talley, 1st US, 1969, Book: Very Good, Dust Jacket: Very Good, 248 pages. Hardcover. Illustrated with 370 black & white plates and a color frontispiece. Introduction by Henry Moore. Photographs by Ilario Bessi in collaboration with Henry Moore. Brown canvas, spine lettered in gilt, upper cover blocked in gilt with publishers' device, Dust jacket with light surface wear to back cover. Clean, tight copy.

Hardcover. Venice, Marsilio, 1st, 1986, Book: Very Good, Dust Jacket: Good, Hardcover in a lightly sunned dust jacket. Lovely retrospective of Italian fashion. 151 pages, 277 illustrations, many in color. ITALIAN TEXT. Small sticker, pencil marking to front endpapers, otherwise clean. DOMESTIC SHIPPING ONLY.

Hardcover. Columbia MO, University of Missouri Press,, 1st, 1978, Book: Very Good, Dust Jacket: Very Good, Hardcover, 224 pages, b&w plates. Dust jacket price-clipped, clean copy.

Hardcover. Chapel Hill NC, University of North Carolina Press, 1st, 2001, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. 277 pages, illustrated in b&w and color. The putto (often portrayed as a mischievous baby) appears frequently in the art and literature of Renaissance Italy. The "spiritelli" embody a minor species of demon, neither good nor bad. This book discusses the manifestations of the putto-spiritello in 15th-century art and literature. It offers parallel interpretations of two works: Botticelli's "Mars and Venus", a painting in which infant Satyr-putti appear as the panic-inducing spirits of the nightmare, and Politian's "Stanze", a poem in which masked cupids appear to the hero in a deceiving dream. The text concludes with an examination of the functions of such masks in the poetry and public masquerades sponsored by Lorenzo de'Medici and in Michelangelo's scheme for the decoration of the Medici Chapel. Clean copy.

Hardcover. Greenwich CT, New York Graphic Society, 1st, 1971, Book: Very Good, Dust Jacket: Good, Hardcover in a bright, edgeworn dust jacket. 322 pages. 100 B&W and color plates and 56 B&W illustrations. Pictorial dust jacket with edgewear. Light brown cloth. Auction stamp on front pastedown. Otherwise, a clean, tight copy. DUE TO WEIGHT, DOMESTIC SHIPPING ONLY.

Hardcover. New York, Museum of Modern Art, 1st, 2003, Book: Very Good, Dust Jacket: Very Good, Hardcover, 152 pages, illustrated throughout in color. Spotless and tight copy. 128 Italian film posters that are a rich array of both Italian films and the international cinema. Includes text and notes on each poster. Arranged by genre from the 30's to the late 50's.

Hardcover. London, Phaidon, 1st, 1963, Book: Good, Dust Jacket: Fair, Part III of Pope-Hennessy's Introduction to Italian Sculpture. 3 Volumes - Plate Volume - non-paginated. Illustrated with black & white plates. Bump at top of spine. Dust jacket age darkened, wear along edges. Clean, tight copy. Text Volume - 126 pages. Black & white illustrations. Bottom right corner bumped. Dust jacket age darkened, wear along edges. Clean, tight copy. Catalogue Volume - 183 pages. Dust jacket age darkened, wear along edges. Clean, tight copy.

Hardcover. NY, Oxford University Press, 1st, 1925, Book: Very Good, Dust Jacket: None, Hardcover, dark blue cloth stamped in gilt, 243 pages. Twenty-five b&w plates illustrating landscape designs. Clean, bright copy.

Hardcover. NY, Harry N. Abrams, 1st, 1954, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, cardboard slipcase. 214 pages with 75 mounted color plates, and 100 in-text illustrations. An important study, in which Salmi has gathered works of all schools of miniature painting, much of which had never been published before. Clean copy. Slipcase with minor tape repair. DOMESTIC SHIPPING ONLY.

Hardcover. London, Phaidon Press, 1st, 1963, Book: Very Good, Dust Jacket: Very Good, 222 pages of text, 1478 b&w plates, 39 index pages. Two volume set, textured cloth covers, clean dustjackets, set shows little wear. Cardboard slipcase with paper chipping to edges.

Hardcover. Philadelphia, Philadelphia Museum Of Art, 1st, 2006, Book: Very Good, Dust Jacket: Very Good, Hardcover, 224 pages, illustrated throughout with 112 color plates and 55 b&w reproductions. Light shelf-wear to dust jacket. Clean, tight copy. A catalogue to accompany an exhibition at the Philadelphia Museum of Art. A beautiful publication examining Italian Maiolica. An essential reference work for historians, collectors, and anyone with an interest in ceramics.

Hardcover. NY, The Museum of Modern Art, 1st, 1972, Book: Very Good, Dust Jacket: Very Good, Hardcover in a translucent dust jacket with 5 cut-outs enclosed (as called for), jacket with the usual darkening to edges and spine; The catalog for the 1972 major exhibition at MOMA, providing an excellent survey of modern Italian design and associated radical architectural movements. With articles on the history of modern Italian design by Portoghesi, Benevolo, and Gregotti, and articles on architecture by Celant and Tafuri. 430 pages with 520 photographic images and illustrations of which 124 are in color offering a kaleidescopic yet comprehensive vision of Italian design, objects and environments. Clean copy.

Hardcover. New Haven, Yale University Press, 1st, 1973, Book: Very Good, Dust Jacket: Good, 146 pages of text followed by large section of black & white photographic illustrations. Hardcover. Previous owners name at top right corner of front endpaper. Dust jacket worn, with chipping along edges, fading to spine. Clean, tight copy.

Hardcover. Monteal, Montreal Museum of Fine Art, 1st, 1987, Book: Very Good, Dust Jacket: Very Good, 345 pages plus 8 pages in rear. Large, hardcover exhibition catalog profusely illustrated with DaVinci's drawings. Some color fade to the dust jacket spine otherwise very good.

Hardcover. Chicago, University Of Chicago Press, 1st US, 2001, Book: Very Good, Dust Jacket: Very Good, 440 pages. Hardcover with dust jacket and slipcase. Full color and black & white illustrations. Beautiful copy with light sunning to dust jacket spine, Clean, tight copy. The technical problems with the Last Supper began as soon as Leonardo started to paint it. He jettisoned the traditional fresco technique of applying paint to wet plaster, a method unsuited to Leonardo's slow and thorough execution, and created the work instead with an experimental technique that involved painting directly on the dry plaster. With this renegade method, Leonardo rendered one of the most enduring painting techniques volatile and unstable. Added to this initial complication have been centuries of pollution, tourists, candle smoke, and the ravages of age, not to mention food fights in the refectory staged by Napoleonic soldiers and Allied bombs in 1943. By the middle of the twentieth century, the Last Supper was in desperate need of a complete restoration.Pinin Brambilla Barcilon was chosen to head this twenty-year project, and Leonardo, The Last Supper is the official record of her remarkable effort. It first documents the cleaning and removal of the overpainting performed in the other attempts at restoration and then turns to Barcilon's meticulous additions in watercolor, which were based on Leonardo's preparatory drawings, early copies of the painting, and contemporary textual descriptions. This book presents full-scale reproductions of details from the fresco that clearly display and distinguish Leonardo's hand from that of the restorer. With nearly 400 sumptuous color reproductions, the most comprehensive technical documentation of the project by Barcilon, and an introductory essay by art historian and project codirector Pietro C. Marani that focuses on the history of the fresco,

Hardcover. New York, Knopf, 1st us, 2012, Book: Very Good, Dust Jacket: Very Good, 368 pages. Hardcover with dust jacket. Small red dot remainder mark on bottom edge, otherwise, clean, unmarked copy with only minor wear to dust jacket. Color and Black and white pictures throughout.

Hardcover. Boston, Massachusetts, Harry N. Abrams, 1st, 1992, Book: Very Good, Dust Jacket: Very Good, 470 pages. Brown cloth cover, color illustrated dust jacket, 113 color and 206 illustrations. Still in original shrink wrap; book in excellent condition. American artists have been inspired by Italy since the 1760s, when Benjamin West, the first American painter to travel there, was drawn to the ancient Roman ruins and magnificent Renaissance architecture, statuary, and frescoes. This intriguing, superbly illustrated book is the first to explore the fascination Italy held for the American artist from West's time to the eve of World War I.The unique sense of the past found in Italy, where tangible evidence exists of a continual civilization from antiquity to the present, lured countless American artists to its cities, towns, and countryside. Painters from West and Copley in the eighteenth century to Cole, Inness, Whistler, Sargent, and Prendergast in the nineteenth century were inspired to create many of their finest works in Italy, as were American sculptors such as Hiram Powers and Harriet Hosmer and writers from Washington Irving to Henry James.This in-depth study includes 319 illustrations, of which 113 are reproduced in full color, many of works that have not previously been published. Theodore E. Stebbins, Jr., John Moors Cabot Curator of American Paintings at the Museum of Fine Arts, Boston, and Professor of Art History at Boston University, provides a broad overview of the American perception of Italy and the unique role that Italy played in the formation of American art.

Hardcover. Boston, Massachusetts, Harry N. Abrams, 1st, 1992, Book: Very Good, Dust Jacket: Very Good, 470 pages. Brown cloth cover, color illustrated dust jacket, 113 color and 206 illustrations. Still in original shrink wrap; book in excellent condition. American artists have been inspired by Italy since the 1760s, when Benjamin West, the first American painter to travel there, was drawn to the ancient Roman ruins and magnificent Renaissance architecture, statuary, and frescoes. This intriguing, superbly illustrated book is the first to explore the fascination Italy held for the American artist from West's time to the eve of World War I.The unique sense of the past found in Italy, where tangible evidence exists of a continual civilization from antiquity to the present, lured countless American artists to its cities, towns, and countryside. Painters from West and Copley in the eighteenth century to Cole, Inness, Whistler, Sargent, and Prendergast in the nineteenth century were inspired to create many of their finest works in Italy, as were American sculptors such as Hiram Powers and Harriet Hosmer and writers from Washington Irving to Henry James.This in-depth study includes 319 illustrations, of which 113 are reproduced in full color, many of works that have not previously been published. Theodore E. Stebbins, Jr., John Moors Cabot Curator of American Paintings at the Museum of Fine Arts, Boston, and Professor of Art History at Boston University, provides a broad overview of the American perception of Italy and the unique role that Italy played in the formation of American art.

Softcover. Milan, Skira, 1st, 2001, Book: Very Good, Dust Jacket: None, Softcover, 217 pages, illustrated in color and b&w. In publisher's shrinkwrap. A tribute to the world renowned phenomenon of Made in Italy on the occasion of two memorable dates: the fiftieth anniversary of the first Italian fashion show (Florence, 1951) and the fortieth anniversary of the International Furniture Show (Milan, 1961). The book, devoted to fifty years of Italian fashion and design, examines the complex mosaic of Made in Italy divided into different aspects and themes.

Softcover. Milan, Skira, 1st, 2001, Book: Very Good, Dust Jacket: None, 217 pages, illustrated in color and b&w. In publisher's shrinkwrap.

Hardcover. New Haven CT, Yale University Press, 1st, 2010, Book: Very Good, Dust Jacket: Very Good, Hardcover, 438 pages, illustrations in color and b&w. Clean, unmarked copy with only minor wear to dust jacket.

Softcover. Italy , Coconino Press, Reprint, 2018, Book: Very Good, Dust Jacket: Very Good, Unpaginated. Softcover with dust jacket. A very clean, unmarked copy with minor creasing to dust jacket rear flap.

Hardcover. Italy, Massimiliano Boni, 1st, 1974, Book: Very Good, Dust Jacket: Good, 128 pages, plus plates. ITALIAN TEXT. INSCRIBED. Color frontispiece, B/w illustrations/plates throughout. Dust jacket unclipped, has some age wear. Covers good, bound in blue fabric. Foxing on edges and endpapers, but pages clean. In very good condition.

Hardcover. Seattle, Fantagraphics, 1st, Book: Very Good, Dust Jacket: None, Hardcover in pictorial boards, 298 pages. Published for the first time in English -- and the first time in color -- the classic Petra Chérie by Italian master Attilio Micheluzzi follows the dramatic adventures of a mysterious heroine during the end of World War I. Originally published in serial format from 1977-1982, Petra Chérie follows the adventures of Petra De Karlowitz, 'Chérie' to creator Micheluzzi, who addresses her throughout the book. Born to a Polish businessman and the most beautiful woman in Paris, raised in Canton, China, and now based in neutral Holland, she is a spy who answers only to herself. Evoking but cleverly eschewing stereotypes of the femme fatale, Petra is equally at home in the cockpit of an airplane and behind the wheel of a motorcar. More than that, she is an endlessly fascinating enigma and one of the most iconic characters in Italian comics. In short, thrilling tales across sky, sea, and land, zipping from Northern Europe to Mitteleuropa, from the Balkans to the Bosphorus to the nascent Soviet Union, Micheluzzi grapples with an era when Europe's borders were in flux and battle lines were often blurred. Clean copy.