jorge petit (24 risultati)

Hardcover. Condizione: Very Good. No Jacket. Missing dust jacket; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

paperback. Condizione: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

hardcover. Condizione: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

Paperback. Condizione: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Condizione: Good. 1st Edition. Former library book; may include library markings. Used book that is in clean, average condition without any missing pages.

paperback. Condizione: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

Paperback. Condizione: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Condizione: Very Good. Condizione sovraccoperta: Very Good. First Printing.

Encuadernación de tapa blanda. Condizione: Bien. Economía.

Condizione: As New. Prompt Shipment, shipped in Boxes, Tracking PROVIDED1.

Tapa Blanda. Condizione: Excelente. EXCELENTE ejemplar. 183pp + catálogo de colección.

Condizione: Very Good. Minimal wear to cover. Pages clean and binding tight. shelf wear. bumped edges. Paperback.

Condizione: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

1967 Ariel, Barcelona Pról. de J.L. Sureda. 215 p. 24x16 cm. Enc. rústica. Para ver o recibir fotografías de los libros puede ir a nuestra web o solicitarlas.(economia, economia).

Encuadernación de tapa blanda. Condizione: Excelente. CRITICA: REVISTA MULTICOLOR DE LOS SABADOS DIRECTORES: JORGE LUIS BORGES- ULISES PETIT DE MURAT. NO INCLUYE CD AÑO DE EDICIÓN: 1999 EDITADA POR EL FONDO NACIONAL DE LAS ARTES.

Madrid 1967, 24x17,5 cm., 190 págs.

Paperback. Condizione: new. Excellent Condition.Excels in customer satisfaction, prompt replies, and quality checks.

.- Barcelona. 1967. Ariel. 4º menor. 215 p. . . .

paperback. Condizione: New. NEW. SHIPS FROM MULTIPLE LOCATIONS. book.

Encuadernado (conserva cubiert. Condizione: Bien. Primera edición. REVISTA MEGAFONO - Colección completa. Director: Sigfrido Radaelli. (Primera época): N° 1 (Marzo 1930) - N° 7 (Abril 1931). Colaboraciones de Carlos Mouchet, Arturo Horacio Ghida, Homero Manzi, Víctor Max Wullich, Cipriano Santiago Vitureira, Federico Aberastury. Segunda época: Directores: Sigfrido Radaelli, Erwin F. Rubens y Víctor Max Wullich. Continúa la numeración de la primera época: N° 8 (Agosto 1931) - N° 12 (Abril 1934). Colaboraciones de Federico García Lorca, Enrique Mallea, Jorge Luis Borges, Francisco Romero, Enrique Banchs, Vicente Fatone, Ulyses Petit de Murat, Ángel Vasallo, Juan Oscar Ponferrada, Luis Emilio Soto, José Bianco, Enrique Anderson Imbert. En el número 11 (Agosto 1933) apareció el famoso estudio sobre Borges donde escriben Drieu La Rochelle, Petit de Murat, Enrique Mallea, Ignacio B. Anzoátegui, Raúl Rivero Olazábal, Amado Alonso, Arturo Horacio Ghida, Homero M. Guglielmini, Tomás de Lara, León Ostrov, Lisardo Zía, Pedro Juan Vignale, Enrique Anderson Imbert, Sigfrido Radaelli y Erwin F. Rubens. Inhallable publicación completa. Encuadernada en 3 tomos de diferentes tamaños ya que los formatos de la publicación variaron. Estado general bueno: algunas publicaciones presentan algunos bordes con manchitas, páginas amarillentas debido a la calidad del papel al que tenían acceso los editores o algunos dobleces.

Encuadernación de tapa blanda. Condizione: Bien. ////Cada poema acompañado de un grabado de José Rueda, Pompeyo Audivert, Antonio Berni, Alfredo de Vicenzo, Laico Bon, Daniel Zelaya, Norberto Onofrio, etc. Cubierta en color de Marcos Paley.////28x20. 56 págs.//Revistas Literarias, Poesía, Arte.

rilegato hardcover. Condizione: Fine. 1992; Lingua italiana e francese.Le splendide invenzioni per il teatro (bozzetti, studi inediti 1978-1991) dell'eclettico stilista, accompagnate da scritti di Mario Pasi e di Roy Strong.Opera con copertina rigida, In custodia. Numerose illustrazioni a colori ft.pp. 272Presenta piccolissimi segni del tempo sulla custodia.PV . Book.

Sin Encuadernar. Condizione: Muy bien. Ben Molar in an unprecedented effort, approached the tango fourteen poets and writers chosen among the most important men of letters that the country has. These were the chosen ones: León Benarós, Jorge Luis Borges, Nicolás Cocaro, Cordova Iturburu, Florencio Escardó, Baldomero Fernández Moreno, Alberto Girri, Leopoldo Marechal, Carlos Mastronardi, Manuel Mujica Láinez, Conrado Nalé Roxlo, Ulises Petit de Murat, Ernesto Sabato and César Time. Once obtained the letters of these important men, of the highest level of Argentine literature, sought among the most famous and popular tango musicians. They were: José Basso, Miguel Caló, Juan D'Arienzo, Alfredo De Angelis, Julio De Caro, Enrique Delfino, Lucio Demare, Osvaldo Manzi, Mariano Mores, Sebastián Piana, Astor Piazzolla, Armando Pontier, Hector Stamponi and Aníbal Troilo. The idea was underway, they met periodically and adjusted, retouched, modified, until making the fourteen tangos, which meant the most important nucleation that exists in the world, of famous artists of literature approaching popular music. As a complement and final touch of this magnificent undertaking, he also approached the proposal, fourteen plastic artists of the highest level of Argentine painting: Carlos Alonso, Héctor Basaldúa, Carlos Cañás, Santiago Cogorno, Zdravko Duckelic, Raquel Forner, Vicente Forte , Mario Darío Grandi, Julio Martínez Howard, Onofrio Pacenza, Leopoldo Presas, Luis Seoane, Raul Soldi and Carlos Torrallardona. The result of this fruitful task were fourteen titles: "Alejandra", by Ernesto Sabato and Aníbal Troilo "Bailate un tango Ricardo", by Ulises Petit de Murat and Juan D'Arienzo "Como nadie", by Manuel Mujica Láinez and Lucio Demare "Elegy", by Alberto Girri and Osvaldo Manzi "In which corner I find you Buenos Aires", by Florencio Escardó and Héctor Stamponi "The butterfly and death", by Leopoldo Marechal and Armando Pontier "Marisol", by Córdova Iturburu and Sebastián Piana "Milonga de Albornoz", by Jorge Luis Borges and José Basso "Nadie puede", by César Tiempo and Enrique Delfino "Oro y gris", by León Benarós and Mariano Mores "Sabor de Buenos Aires", by Carlos Mastronardi and Miguel Caló "Seventy balconies and no flowers", by Baldomero Fernández Moreno and Astor Piazzolla "Tango for Juan Soldado", by Conrado Nalé Roxlo and Alfredo De Angelis "A whistle in the pocket", by Nicolás Cocaro and Julio De Caro. With these forty-two men, fourteen in each of these pillars: music, poetry and plastic, Ben Molar made an album in which goes a long-playing album, where we find fourteen themes and two pages containing the thought about the tango of all the artists, with their respective autographs. There are also the plates that reproduce each of the fourteen paintings that interpret each of the creations pictorially. The different ranges of tango have been included on the album: the tango canción, the tango milonga, the tango salón, the avant-garde tango and the lunfardo tango, that is to say, many of the variants that our citizen music has. It is clear that also the focus of each composition varies according to the different styles of poets and musicians, which increases the richness of this cultural material. With respect to the fourteen paintings that interpret the subjects pictorially, they were made by a group of plastics that also make a very complete sample of Argentine painting. The first time the paintings were exhibited was used to expose them, fourteen stained-glass windows to the street, of fourteen prestigious commercial premises, in fourteen blocks of Santa Fe Avenue (one of the most elegant avenues of Buenos Aires) and then in seven stained glass windows the street of an important Florida street trade.

Separata facticia de 47 pp. de la Revista Moneda y Crédito. Madrid, 1966.