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Published by New York: Grove Press, (1969). (1969)., 1969
Seller: Blue Mountain Books & Manuscripts, Ltd., Cadyville, NY, U.S.A.
First Edition
Condition: Very good. New York: Grove Press, (1969)., (1969). Very good. - Small octavo, 7 inches high by 4-1/8 inches wide. Softcover, mass market paperback bound in purple & white wraps. The covers are slightly soiled with a price penned at the top of the front cover. 288 pages, with several pages of illustrations after photographs & stills from the film. Very good. First edition, first printing. In addition to the filmscript, the book includes an interview with Antonioni as well as the scripts for variant scenes omitted from the movie and essays by several critics and reviewers.
Published by lorimer, 1984
ISBN 10: 0856470961ISBN 13: 9780856470967
Seller: Hollywood Canteen Inc., Toronto, ON, Canada
Book
Soft Cover. Condition: Very Good. 2018 basement script center.
Condition: New.
Published by Editoriale Delfi di Salvatore Giannella, 1996
ISBN 10: 8886826001ISBN 13: 9788886826006
Seller: Amnesty Bookshop London, Shoreditch, United Kingdom
Book First Edition
Soft cover. Condition: Very Good. No Jacket. Vadim Medzibousky (illustrator). 1st Edition. Beautiful, LARGE, book with poetry by Michelangelo Antonioni Tonino Guerra and illustrated by Vadim Medzibouskiy. 80 pages. Boards are very good, pages are very good, no marks or foxing. Binding is good and tight. Would be an excellent coffee table book. May incur some shelf wear. All proceeds go to Amnesty International.
Published by Maggioli, Rimini, 1982
Seller: Il Salvalibro s.n.c. di Moscati Giovanni, Foligno, PG, Italy
Condition: As New. Mm 145x215 Volume cartonato rigido di pagine 89 con 8 tavole a colori di Nicolai Ignatov. Come nuovo. SPEDIZIONE IN 24 ORE DALLA CONFERMA DELL'ORDINE.
Published by Metro-Goldwyn-Mayer [MGM], Beverly Hills, CA, 1970
Seller: Royal Books, Inc., ABAA, Baltimore, MD, U.S.A.
Near Fine. Godard, Histoire(s) du cinema. Rosenbaum 1000.
Published by Iterfilm, Rome, 1982
Seller: Royal Books, Inc., ABAA, Baltimore, MD, U.S.A.
Manuscript / Paper Collectible
Agency draft script in English for the 1982 Italian film. Antonioni's rarely discussed final feature, and one of his greatest achievements. Niccolo (Tomas Milian), a recently divorced movie director pursues a new relationship with a younger woman, Mavi (Daniela Silverio), who he imagines could play the leading role in his next film. She quickly vanishes and he embarks on a search to find her, sparking up a series of romances with other women. Winner of the 35th Anniversary Prize at the 1982 Cannes Film Festival. Shot on location in Venice and Rome. Blue untitled agency wrappers. Title page present, with credits for director Michelangelo Antonioni. 91 leaves, with last page of text numbered 82. Xerographic duplication, rectos only. Pages Near Fine, wrapper Near Fine, bound internally with three gold brads. Criterion Collection 585.
Published by Cineriz, Rome, 1962
Seller: Royal Books, Inc., ABAA, Baltimore, MD, U.S.A.
Vintage borderless reference photograph of director Michelangelo Antonioni and actors Monica Vitti and Alain Delon during a cafe scene on the set of the 1962 film. With a mimeo snipe on the verso, along with the stamps of Keystone Photo and Publifoto, and a stamp noting No. 8710. A woman's newfound relationship with a power-hungry stockbroker gradually erodes as she becomes dissatisfied with his shallow interests. The final film in Antonioni's modernity trilogy, all starring Vitti, preceded by "L'avventura" (1960) and "La notte" (1961). Awarded the Jury Special Prize, and nominated for the Palme d'Or at the 1961 Cannes Film Festival. Shot on location in Rome and Verona, Italy. 10.5 x 8.5 inches. Near Fine. Criterion Collection 278. Rosenbaum 1000. Scorsese, My Voyage to Italy. Vogel, Film as a Subversive Art.
Published by Metro-Goldwyn-Mayer [MGM], Beverly Hills, CA, 1970
Seller: Royal Books, Inc., ABAA, Baltimore, MD, U.S.A.
Vintage reference photograph of director Michelangelo Antonioni talking with actors Mark Frechette and Daria Halprin on location in the desert for the 1970 film. With a stamp specific to the film's French release on the verso. Antonioni's great American experiment, and the only film the director ever made in the United States, written for the screen by a young Sam Shepard. Though made from an Italian's perspective, the film stands today as a great visual statement on the American West in the late 1960s, rampant consumerism, and the hippie zeitgeist. 8 x 10 inches. Near Fine. Rosenbaum 1000. Godard, Histoire(s) du cinema.
Published by Concorde Film, Grunwald, Germany, 1982
Seller: Royal Books, Inc., ABAA, Baltimore, MD, U.S.A.
Three vintage borderless reference photographs from the German release of the 1982 Italian film. With mimeo snipes on the verso. Antonioni's rarely discussed final feature, and one of his greatest achievements. A recently divorced director pursues a new relationship with a younger woman, who he imagines could play the leading role in his next film. She quickly vanishes and he embarks on a search to find her, sparking up a series of romances with other women. Winner of the 35th Anniversary Prize at the 1982 Cannes Film Festival. Shot on location in Venice and Rome. 9.5 x 7 inches. Near Fine. Criterion Collection 585.
Published by Metro-Goldwyn-Mayer [MGM], Beverly Hills, CA, 1970
Seller: Royal Books, Inc., ABAA, Baltimore, MD, U.S.A.
Vintage studio still photograph, of Daria Halprin, seemingly trapped in the middle of a mid-century modern glass vestibule, from the 1970 film. Mimeo snipe on the verso. Antonioni's great American experiment, and the only film the director ever made in the United States, written for the screen by a young Sam Shepard. Though made from an Italian's perspective, the film stands today as a great visual statement on the American West in the late 1960s, rampant consumerism, and the hippie zeitgeist. 8 x 10 inches, with wide horizontal margins. Near Fine. Rosenbaum 1000. Godard, Histoire(s) du cinema.
Published by N.p., N.p., 1960
Seller: Royal Books, Inc., ABAA, Baltimore, MD, U.S.A.
Vintage borderless reference photograph of director Michelangelo Antonioni on the set of the 1960 film. With the stamp of Promopress agency on the verso, along with manuscript pencil annotations. A young woman disappears during a cruise in the Mediterranean, leading her lover and best friend to search for her. The first film in Antonioni's famed trilogy, followed by "La Notte" (1961) and "L'eclisse" (1962). Shot on location throughout Italy, including in Rome, the Aeolian Islands, and Sicily. 7 x 9.5 inches. Very Good plus overall. Criterion Collection 98. Ebert I. Godard, Histoire(s) du cinema. Rosenbaum 1000. Scorsese, My Voyage to Italy. Vogel, Film as a Subversive Art.
Published by N.p., N.p., 1961
Seller: Royal Books, Inc., ABAA, Baltimore, MD, U.S.A.
Three vintage borderless reference photographs from the 1961 Italian film. Stamp of photographer Paul Ronald on the versos of two photographs. The second film in director Michelangelo Antonioni's trilogy that begins with "L'Avventura" (1960) and ends with "L'Eclisse" (1962). Probably no one has ever said it better than Bosley Crowther, who reviewed the film for the New York Times in 1961: "Too sensitive and subtle for apt description are [Antonioni's] pictorial fashionings of a social atmosphere, a rarefied intellectual climate, a psychologically stultifying milieu-and his haunting evocations within them of individual symbolisms and displays of mental and emotional aberrations. Even boredom is made interesting. There is, for instance, a sequence in which a sudden downpour turns a listless garden party into a riot of foolish revelry, exposing the lack of stimulation before nature takes a flagellating hand. Or there's a shot of the crumpled wife leaning against a glass wall looking out into the rain that tells in a flash of all her ennui, desolation, and despair." Set and shot on location in Milan. 9.25 x 7.5 inches. Near Fine. Criterion Collection 678. Eureka Masters of Cinema 61.
Published by Cineriz, Rome, 1962
Seller: Royal Books, Inc., ABAA, Baltimore, MD, U.S.A.
Vintage borderless reference photograph from the 1962 film, showing actor Alain Delon leaning against a fence. With a mimeo snipe on the verso, along with the stamps of Keystone Photo and Publifoto. A woman's newfound relationship with a power-hungry stockbroker gradually erodes as she becomes dissatisfied with his shallow interests. The final film in Michelangelo Antonioni's modernity trilogy, preceded by "L'avventura" (1960) and "La notte" (1961). Shot on location in Rome and Verona, Italy. 7.25 x 9.5 inches. Very Good plus, with light creasing to the bottom left corner, reinforced with white paper tape on the verso. Criterion Collection 278. Rosenbaum 1000. Scorsese, My Voyage to Italy. Vogel, Film as a Subversive Art.
Published by N.p., N.p., 1966
Seller: Royal Books, Inc., ABAA, Baltimore, MD, U.S.A.
Vintage borderless double weight photograph of Michelangelo Antonioni on the set of the 1966 film, with provenance stamp of film scholar and author "J. P. Berthome" on verso. Inspired by the 1959 short story "Las Babas del Diablo" by Julio Cortazar. Michelangelo Antonioni's first English-language film, marking the beginning of the final phase of his work, co-produced by companies in Italy, the United States and the United Kingdom and featuring an international cast. The director's brash use of color, set design, non-standard editing techniques, and typical emphasis of atmosphere over plot would carry over into the two major films that followed, "Zabriskie Point" (1970) and "The Passenger" (1975). In his 2009 essay on the film, Danny Lyon notes, "It is apt that through [his established] style Antonioni made a movie that is perhaps closest to communicating the myth of the swinging Sixties scene but also the confusion of the time. . Britain's new and very chaotic [cultural] revolution was perhaps most effectively captured by an Italian." Winner of the Palme d'Or. Nominated for two Academy Awards for Best Director and Best Screenplay. 10 x 8 inches. Light edgewear and creasing in far corners, else Near Fine. Criterion Collection 865. Ebert I. Grant UK/Italy.
Published by Film Duemila, Rome, 1964
Seller: Royal Books, Inc., ABAA, Baltimore, MD, U.S.A.
Vintage borderless reference photograph of Monica Vitti and Richard Harris from the 1964 film. "Deserto Ross" stamp on verso. Antonioni's first color film, and the last in a quartet of films made between 1959 and 1964 about women in modern culture (preceded by "L'avventura," "La Notte," and L'Eclisse"), and the lie of happiness and better living. This entry, very much an antecedent to Todd Haynes' "Safe" (1995), focuses on Vitti, a woman trying to survive in the modern world of cultural neurosis and existential doubt. Carlo Di Palma's cinematography remains legendary today for its stunningly colored industrial landscapes, beautifully and yet indirectly evoking Vitti's unease, alienation, and vivid perceptions. Shot on location in Ravenna, Sardinia, and Rome, Italy. 9.5 x 12 inches. Near Fine. BFI 1134. Criterion Collection 522. Godard, Histoire(s) du cinema. Rosenbaum 1000.
Published by N.p., N.p., 1962
Seller: Royal Books, Inc., ABAA, Baltimore, MD, U.S.A.
Two vintage borderless reference photographs from the 1962 film, one of Michelangelo Antonioni with Alain Delon and Monica Vitti, and one of Antonioni and crew shooting a scene in Rome from scaffolding built in the water. One with French "L'Eclipse" stamp, and provenance stamp of film historian "Maurice Bessy" on verso, one with "P.I.P." and "Copyright" stamps on verso. A woman's newfound relationship with a power-hungry stockbroker gradually erodes as she becomes dissatisfied with his shallow interests. The final film in Antonioni's modernity trilogy, all starring Vitti, preceded by "L'avventura" (1960) and "La notte" (1961). Awarded the Jury Special Prize, and nominated for the Palme d'Or at the 1961 Cannes Film Festival. Shot on location in Rome and Verona, Italy. 6.75 x 9.25 inches and 9.5 x 7 inches. Very Good plus with light creasing and edgewear. Criterion Collection 278. Rosenbaum 1000. Scorsese, My Voyage to Italy. Vogel, Film as a Subversive Art.