Softcover. Milano, Longanesi & Co., 1st, 1979, Book: Good, Dust Jacket: None, Softcover, 94 pages. Text in Italian. Light edgewear to wrappers, faint foxing to edges and end papers.
Hardcover. US, Taschen, 1st, 2013, Book: Very Good, Dust Jacket: Very Good, Like new in publisher's shrink-wrap. Hardcover, 400 pages, over 600 illustrations, mostly color. The enduring lure of a material for over 60 years. Italian company Kartell, founded in 1949, is famous around the world for having invented the culture of plastic furniture and interior furnishings. This survey covers the entire history of the company decade by decade, exploring all aspects of its evolution as well as the social and technological qualities of Kartell products.
Softcover. Milano, Longanesi & Co., 1st, 1980, Book: Good, Dust Jacket: None, Softcover, 103 pages. Text in Italian. Light edgewear to wrappers, faint foxing to edges and end papers.
Hardcover. New Haven, Yale University Press , 1st, 1994, Book: Very Good, Dust Jacket: Very Good, Hardcover, 186 pages, 170 illustrations in color and b&w. An analysis of the spatial aesthetics of the work of Italian painter Giovanni Battista. Tiepolo. Alpers and Baxandall locate distinctive modes of Tiepolo's representation of the world and human action; follow his process of invention from first pen drawings, through small oil sketches, to great frescoes; and analyse his best and biggest painting, the Four Continents in the Stairway Hall of the Prince-Bishop's Residence at Wurzburg, illustrated with photographs specially taken for the book. The topics taken up include: painting's resistance to enacted narrative drama, its engagement with indeterminacies and repetitions, the senses in which a painter may 'perform' both past art and himself, the constructive roles of gestural drawing, exploitation of shifts of scale between design and finished work, dialogue between the changing natural site lighting and in-picture lighting, contributions made by the beholder's own mobility, the expressive scope of tensions between two and three dimensions, the deep rationale of rococo formal structure, and the sources of the moral force of pictures without an explicit moral.
