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Spanish postcard. Ediciones M.C., Barcelona. Probably 1920s.
American film actor Richard Dix (1893–1949) achieved popularity in both silent and sound film, first as the rugged and stalwart hero in countless Westerns, then dramatic features such as the Cecil B. DeMille's The Ten Commandments (1923). After his years of silent film at Paramount, and thanks to his deep voice and commanding presence, he became a well-known star at RKO in the 1930s. He was nominated for the Academy Award for Best Actor for his lead role in the Best Picture-winning epic, Cimarron (1931).
Superman. Año VIII número 193. Julio 1 de 1959. Editada por Novaro México. Capítulos: CAPITULO I LA MUCHACHA DE ACERO. CAPITULO II LO SUPERPODERES PERDIDOS. CAPITULO III SUPERMAN REGRESA A KRYPTON. FFB
pauta para los 13 salones regionales de artistas realizada en stop motion la silueta ediciones 2009. Musica de sistema solar.
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POR FAVOR: No pongas gifs animados, logos o premios (awards) en tu comentario. No me envíes invitaciones a grupos donde exista la obligación de comentar o premiar fotos, ni a aquellos donde existe un comentario preformateado con el logo del grupo.
THANKS / Muchas gracias!!.
Últimamente hago ediciones al tuntún y fotos que no me gustan demasiado.
Quisimos entrar a Happy Pills, pero al final no nos dio tiempo.
(Se me ha olvidado poner la firma, soy idiota D:)
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Linda Boyder. Spanish postcard by Ediciones Barcicrom, no. 505, 1963.
For follow more vintage pin-up postcards: follow us at Tumblr or Pinterest. And, did you view our set Beautiful Bikini Beach Babes yet?
Retrospectiva de las 15 ediciones del evento cultural y festivo con más encanto y proyección de la hermosa villa sevillana de Olivares.
Retrospective of the 15 editions of the cultural and festive event with more charm and projection of the beautiful Sevillian village of Olivares.
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PLEASE:
Do not post animated gifs or pictures in your comments. Especially the "awards". No invitations to groups where one must comment and/or invite and/or give award and no group icon without any comment.
POR FAVOR: No pongas gifs animados, logos o premios (awards) en tu comentario. No me envíes invitaciones a grupos donde exista la obligación de comentar o premiar fotos, ni a aquellos donde existe un comentario preformateado con el logo del grupo.
THANKS / Muchas gracias!!.
1 tonelada Moneda de oro del canguro
Especificaciones
País: Australia
Nominal : 1.000.000 EUR
Calidad: ONU
Peso: 1.000 KG
Finura : AU 9999
Diámetro: 80 CM
Grosor: 12 CM
La moneda de oro más grande del mundo
En 2011, la Casa de Moneda de Perth (una de las Münzprägestätten/Casas de moneda australianas) rompió todos los récords: Se acuñó una Goldmünze (moneda de oro) con un peso de una tonelada. El hasta ahora por la Royal Canadian Mint tenido récord para la más grande Goldmünze del mundo - con 100 kg - ya estaba historia.
Como parte del 25 º aniversario de la canguro moneda serie australiana la edición especial única es ahora de gira. Schoeller Münzhandel, a veces, el socio de distribución más importante de la Casa de la Moneda de Perth, ellos tambien pudieran traer a Austria. El diámetro de la moneda es aproximadamente de 80 cm, espesor de 12 cm. Con una finura de 99.99 %, la moneda casi consiste en oro puro.
Para el diseño el Dr. Stuart Devlin es responsable, ya desde hace más de 20 años diseñando las ediciones de uno kilogramo de monedas de canguro de la Casa de Moneda de Perth. En la parte de valor de la moneda se representa la reina Isabel II, en el lado de la imagen, un canguro. La serie canguro de la Casa de Moneda de Perth es comparable con la Filarmónica, que se ha convertido en un símbolo de Austria, como las monedas de canguro para Australia. La acuñación de las monedas de canguro pero fue comenzado con un motivo diferente, es decir, en 1986, con la pepita de oro. 1989 el lado de la imagen se ha cambiado, ya a partir de entonces motivos canguro cambiando cada año como un símbolo de Australia encontraron uso. El Anlagemünzen (monedas de inversión) populares con el motivo de canguro están disponibles en tamaños de 10 kilo, 1 kilo, 10 oz, 2 oz, 1 oz (31,11g), ½ oz, ¼ oz y 1/10 oz, y ahora hay tambien la versión 1 tonelada disponible. Sin embargo, funciona como Ausstellungsstück (pieza de exposición) inalienable.
El valor nominal de la moneda es un millón de dólares australianos, el valor del oro de la moneda se encuentra muy por encima de este valor.
Para todos Münzbegeisterten (entusiásticos de monedas) y los que quieren llegar a ser unos, exclusivamente en Schoeller Münzhandel un 1-oz edición Canguro aniversario en oro está disponible.
1 tonne Gold Kangaroo coin
Specifications
Country: Australia
Nominal : 1,000,000 AUD
Quality: UN
Weight : 1.000 KG
Fineness: AU 9999
Diameter: 80 CM
Thickness: 12 CM
The largest gold coin in the world
In 2011, the Perth Mint (one of the Australian Münzprägestätten/Mints) broke all records: It coined a Goldmünze (gold coin) weighing a ton. The hitherto by the Royal Canadian Mint held record for the largest Goldmünze of the world - with 100 kg - thus was history.
As part of the 25th anniversary of the Australian kangaroo coin-series the unique special edition is now on tour. Schoeller Münzhandel, sometimes the most important distribution partner of the Perth Mint, they also could fetch to Austria. The diameter of the coin is approximately 80 cm, thickness 12 cm. With a fineness of 99.99 %, the coin almost consists of pure gold.
For the design Dr. Stuart Devlin is responsible, yet since more than 20 years designing the one kilogram editions of the Kangaroo coins of the Perth Mint. On the value side of the coin Queen Elizabeth II is depicted, on the image side a kangaroo. The kangaroo series of the Perth Mint is comparable with the Philharmonic, which for Austria has become a symbol, as the kangaroo coins for Australia. Began was the coinage of the kangaroo coins but with a different motive, namely in 1986 with the Gold Nugget. 1989 the picture page has been changed and from then on every year changing kangaroo motifs as a symbol of Australia found use. The popular Anlagemünzen (investing coins) with the kangaroo motif are available in sizes of 10 kilo, 1 kilo, 10 oz, 2 oz, 1 ounce (31.11 g), ½ ounce, ¼ ounce and 1/ 10 oz , and now there is also the 1 ton version available. However, it functions as an inalienable Ausstellungsstück (exhibition piece).
The nominal value of the coin is one million Australian dollars, the gold value of the coin lies far above this value.
For all Münzbegeisterten (coin enthusiastics) and those who want to become ones, exclusively at Schoeller Münzhandel a 1-ounce Kangaroo anniversary edition in gold is available.
1 Tonne Gold-Känguru-Münze
Spezifikationen
Land: Australien
Nominale: 1.000.000 AUD
Qualität: UN
Gewicht: 1.000 KG
Feinheit: AU 9999
Durchmesser: 80 CM
Stärke: 12 CM
Die größte Goldmünze der Welt
Im Jahr 2011 brach die Perth Mint (eine der australischen Münzprägestätten) alle Rekorde: Sie prägte eine Goldmünze im Gewicht von einer Tonne. Der bis dahin von der Royal Canadian Mint gehaltene Rekord für die größte Goldmünze der Welt – mit 100 kg – war somit Geschichte.
Im Zuge des 25-jährigen Jubiläums der australischen Känguru-Münz-Serie ist die einzigartige Sonderausgabe nun auf Tour. Schoeller Münzhandel, mitunter wichtigster Distributionspartner der Perth Mint, konnte sie auch nach Österreich holen. Der Durchmesser der Münze beträgt rund 80 cm, die Stärke 12 cm. Mit einer Feinheit von 99,99 % besteht die Münze aus nahezu reinem Gold.
Für das Design ist Dr. Stuart Devlin verantwortlich, der schon seit über 20 Jahren die 1 Kilogramm-Ausgaben der Känguru-Münzen der Perth Mint gestaltet. Auf der Wertseite der Münze ist Königin Elisabeth II. abgebildet, auf der Bildseite ein Känguru. Die Känguru-Serie der Perth Mint ist mit dem Philharmoniker vergleichbar, der für Österreich, wie die Känguru-Münzen für Australien, zum Symbol geworden ist. Begonnen hat die Prägung der Känguru-Münzen aber mit einem anderen Motiv, und zwar 1986 mit dem Gold Nugget. 1989 wurde die Bildseite geändert und von da an fanden jedes Jahr als Symbol Australiens wechselnde Känguru-Motive Verwendung. Die beliebten Anlagemünzen mit dem Känguru-Motiv sind in den Größen 10 Kilo, 1 Kilo, 10 Unzen, 2 Unzen, 1 Unze (31,11 g), ½ Unze, ¼ Unze und 1/10 Unze erhältlich, und nun gibt es auch die 1 Tonnen-Version. Sie fungiert jedoch als unverkäufliches Ausstellungsstück.
Das Nominale der Münze beträgt eine Million Australische Dollar, der Goldwert der Münze liegt weit darüber.
Für alle Münzbegeisterten und jene, die es noch werden wollen, gibt es exklusiv bei Schoeller Münzhandel eine 1 Unzen-Känguru-Jubiläumsausgabe in Gold.
Chamber of Art Vienna
The Chamber of Art of Vienna is a collection of the Kunsthistorisches Museum (Museum of Art History) in Vienna. It is the portrayal of the art and curiosities chambers of the late Middle Ages, the Renaissance and the Baroque period and it mainly goes back to the earlier collections of the Habsburgs.
Look into the Vienna Chamber of Art
Marble sculpture of the Giulia Albani degli Abati Olivieri by Camillo Rusconi (Rome, 1719 ) in the Chamber of Art of Vienna
Equipment for perspective drawing of Jost Bürgi (Kassel, 1604) in the Chamber of Art of Vienna
Ivory statuette "Apollo and Daphne" by Jakob Auer (Vienna, 1688/90) in the Chamber of Art of Vienna
Collection History
The Chamber of Art of Vienna grew out of several individual collections, which have been collected by various clients. The following collections are the foundation for today's Chamber of Art:
The Chamber of Art and Curiosities of Ferdinand II of Tyrol (1529-1595). It was originally housed at Schloss Ambras near Innsbruck. From this stems the larger part of the surviving pieces from older collections of Emperors Frederick III, Maximilian I and Ferdinand I.
The Kunstkammer of Rudolf II (1552-1612), which was compiled in Prague. Many of the treasures of Rudolph went lost in the Thirty Years War in the sack of the Prague Castle, but this were enriched from the previously to Vienna transported collections with works of the goldsmithing and gem carving art of the time around 1600 as well as to bronzes.
In the 17th century the collections from the Kunstkammer of Archduke Leopold Wilhelm (1614-1662) have been added. He is considered as one of the fathers of today in the Cultural History Museum housed paintings gallery, but also acquired Renaissance bronzes mostly of Italian origin and small sculptures made of stone and wood.
Into the Treasury Chamber in the Swiss Wing of the Vienna Hofburg in the 17th century also came at that time popular works of semi-precious stones, fine works of ivory, rhinoceros horn carvings and miniature-like wax models.
The collection at Ambras Castle in 1806 in front of Napoleon's troops was brought to Vienna in safety, where it initially in the Lower Belvedere Palace kept its independence. Only the under the reign of Emperor Franz Joseph I from 1875 tackled major reform of the imperial collections finally united all the Treasure Chamber collections in the 1891 opened Kunsthistorisches Museum and left only the objects with insignia character and those that are reminiscent of members of the imperial family in the Treasury Chamber.
The newly formed collection found its place on the mezzanine floor of the building and was initially referred to as "collection of art industrial objects". In 1919, it was named "collection for sculpture and arts and crafts". Since this collection but only to a small extent contains large sculptures and objects for a specific purpose of arts and crafts, this name was considered to be inappropriate and in 1990 it was decided to return to the naming of "Kunstkammer".
After the collapse of the monarchy in 1918 the collections of the sideline Austria-Este was affiliated to the Viennese Kunstkammer, in 1921 the Tapisseriensammlung (collection of tapestries) consisting of 800 tapestries was added, which originally had served the design of the imperial palaces. This collection is in addition to the one in possession of the Spanish crown one of the most important of its kind. In 1938 Gustav von Benda with a bequest the collection donated more important works of the Florentine Early Renaissance. The Second World War the art collection survived with very low losses. Only parts of the Tapisseriensammlung, which had to be given as a loan to Berlin and to the the facilities of Goering's hunting lodge Carin Hall, since the end of war are considered to be lost.
Since 1963, all stores of the collection are reunited in the Kunsthistorisches Museum in Vienna. 2002 the structural and technical conditions required the temporary closure of the Kunstkammer. This was followed by a major renovation and expansion of the premises as well as the restructuring and up-to-date presentation of the objects. To the artistically significant exhibits belong gold works like the famous Saliera by Benvenuto Cellini, sculptures such as the Madonna of Krumlov, bronze figures, ivory objects and stone vessels, but also watches, mechanical machines, scientific instruments, gadgets and much more.
After in December 2012 in a public premiere presentation the first room of the museum could be visited, the as one of the most important art collections of the world considered Vienna Chamber of Art on 1 March 2013 was reopened. In the future, on an area of around 2,700 m² more than 2,200 objects can be seen, which are presented in 20 theme rooms.
Ediciones B (Barcelona) - 1988
Serie: Hollywood
Título original: La vergine d’oro
Ilustración de cubierta: Sergio Camporeale
Spanish postcard by Ediciones Europacolor, no. 272.
Again, we have to announce that one of our film stars has passed away. Today, we learned that former Cuban actress, dancer and sex-symbol Chelo Alonso has died on 20 February 2019. Alonso was a star in the Italian cinema of the late 1950s and early 1960s. In several sword and sandal epics she played femme fatales with fiery tempers and she did sensual dance scenes, mixing Afro-Cuban rhythms with ‘bump and grind’. Ultimately in the DVD era, the ‘Cuban H-bomb’ became a cult heroine for many international B-film buffs. Chelo Alonso was 85.
Darkly stunning Chelo Alonso was born Isabella Garcia in 1933 in Central Lugareño, Cuba, to a Cuban father and Mexican mother. At a very young age, it became evident that Isabella possessed a great talent for dancing. At 17, she began performing seriously in Havana and soon earned notoriety at Cuba's National Theatre for her sensual, exotic style. As Chelo Alonso, she toured many cities all over the world, including Havana, Puerto Rico, St. Domingo, Haiti, Miami, New Orleans, New York (Broadway) and finally arrived in Paris in 1957. At the Folies Bergère, she was the main star and billed as the ‘new Josephine Baker’, who had become famous at the Folies more than 30 years before her. Alonso was billed as the ‘Cuban H-Bomb’, and mixed her native Latin Rhythms such as Mambo, Son etc and fused them with the classic ‘bump and grind’. Soon her sensual beauty and allure were discovered for the cinema. She went to the Mecca of the European film industry at the time, Rome. Many of Alonso's later films were Peplums, Italian sword and sandal films in the style of Le Fatiche di Ercole/Hercules (Pietro Francisci, 1958). This box office sensation had starred Steve Reeves and had created a wildly popular new film genre. Hercules paved the way for several Italian B-films attempting to emulate its success. These films required exotic talent, and Alonso's dark beauty fit the bill. Chelo Alonso was first noticed internationally as Erica the slave dancer and conspirator in Nel segno di Roma/Sign of the Gladiator (Guido Brignone, 1959), which starred Anita Ekberg and Georges Marchal. Alonso’s billing was upped due to a particularly erotic dance number, and she became the second female lead. Her picture and name on the posters became even more prominent than either of the two stars, reportedly much to Anita Ekberg’s displeasure. That year Alonso also played a princess opposite Lex Barker and Massimo Serrato in La Scimitarra del Saraceno/The Pirate and the Slave Girl (Piero Pierotti, 1959), and starred with Steve Reeves himself in Il Terrore dei barbari/Goliath and the Barbarians (Carlo Campogalliani, 1959). Her part in the latter film earned Alonso the award of ‘Italian Cinema's Female Discovery’.
With her volcanic temperament, highly distinctive cheekbones and wild mane of dark hair, Chelo Alonso went on star in a dozen Peplums and other adventure films. She charmed muscleman co-stars like Steve Reeves, Mark Forest, Jacques Sernas, Rik Battaglia and Gordon Mitchell in such films as Maciste nella valle dei re/Maciste the Mighty (Carlo Campogalliani, 1960), Terrore della maschera rossa/Terror of the Red Mask (Luigi Capuano, 1960), La regina dei tartari/The Queen of the Tartars (Sergio Grieco, 1960), and Morgan il pirata/Morgan the Pirate (André De Toth, Primo Zeglio, 1960). That year she also filmed a comedy, Gastone (Mario Bonnard, 1960), alongside two giants of the Italian cinema, Alberto Sordi and Vittoria De Sica. A year later, she married Aldo Pomilia, a production manager and producer whom she had met while working on Morgan the Pirate. She later bore him son Aldino. Chelo She reportedly refused Che Guevara's invitation to come back to Havana during the revolution, preferring to remain in Rome. Following Quattro notti don Alba/Desert War (Luigi Filippo D'Amico, 1962), Alonso left film for a time to turn her attention to television. She even took part in a cooking show, where the public could witness her preparing a typical Cuban meal of rice and chicken. She did not return to the screen until the classic Spaghetti Western Il buono, il brutto, il cattivo/The Good, the Bad, and the Ugly (Sergio Leone, 1966). Ironically, in her most widely distributed film she only played a small, mute role. She played the unfortunate Mexican wife of Stevens (Antonio Casas) murdered by Lee Van Cleef in one of the film’s most striking sequences. Then followed supporting parts in two other interesting Spaghetti Westerns. The first was the underrated Corri uomo corri/Big Gundown 2 (Sergio Sollima, 1968) starring Tomas Milian. Her final film was the obscure La Notte dei serpenti/Night of the Serpent (Giulio Petroni, 1970). After the death of her producer-husband in 1986, Alonso moved to the city of Siena in Tuscany, Italy. She opened a small cat-breeding farm, which became a luxurious four-star hotel. Chelo Alonso’s film career was brief, but we do agree with Ben Chenier at Cult Sirens: “She was in no more than 20 films but had she played in only one, we still couldn't forget her. (...) One of the most astounding beauty of her time (or any time, in my view), Chelo Alonso lit up the screen every time she appeared before a camera. That gorgeous figure, those amazing cheekbones, that heavy mane of hair... all elements to nominate her at the Pantheon of Immortal Movie Goddesses”.
Sources: Ben Chenier (Cult Sirens), Gary Brumburgh (IMDb), Matt Blake (The Wild Eye), Wikipedia, and IMDb.
Bicis diferentes.
Edades diferentes.
Estilos diferentes.
Ediciones diferentes.
Para Planeta Dyp...
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Por favor, ¡no pongas imágenes en los comentarios! ¡Gracias!
Please no images in the comments, just plain text. Thank you!
Todos los Derechos Reservados © All rights reserved
PLEASE:
Do not post animated gifs or pictures in your comments. Especially the "awards". No invitations to groups where one must comment and/or invite and/or give award and no group icon without any comment.
POR FAVOR: No pongas gifs animados, logos o premios (awards) en tu comentario. No me envíes invitaciones a grupos donde exista la obligación de comentar o premiar fotos, ni a aquellos donde existe un comentario preformateado con el logo del grupo.
THANKS / Muchas gracias!!.
Todos los Derechos Reservados © All rights reserved
PLEASE:
Do not post animated gifs or pictures in your comments. Especially the "awards". No invitations to groups where one must comment and/or invite and/or give award and no group icon without any comment.
POR FAVOR: No pongas gifs animados, logos o premios (awards) en tu comentario. No me envíes invitaciones a grupos donde exista la obligación de comentar o premiar fotos, ni a aquellos donde existe un comentario preformateado con el logo del grupo.
THANKS / Muchas gracias!!.
Thank you so much to Marian and Mariano of Moncho Ediciones for inviting me to be part of this lovely project "Mish Mish Mish", a limited edition screen-printed book which collects cats done by 24 illustrators around the world.The book is printed in hight quality paper and very beautiful! I love it very much.
The above cat is my contribution "Little Black".
More detail at:
monchoedicionesblog.blogspot.com/
List of participating artists:
Ana Galván
Anke Weckmann
Annalisa Papagna
Astrid Yskout
Bubi Au Yeung
Camilla Engman
Denise Holmes
Flora Chang
Gal Shkedi
Gemma Correll
Harsa
Jim Pluk Sanabria
Kate Hindley
Luisa Uribe
Marmushka
Matte Stephens
Mike Lowery
Natascha Rosenberg
Oliver Jeffers
Pilipo Giordano
Simone Mendes
Steph Says Hello
We love patterns
Yara Kono
Spanish postcard by Ediciones Traje-Fher / Mandolina, no. 503, 1964. Photo: Simon Lopez / Producciones Benito Perojo.
Blond twins Pili and Mili Bayona (1947) were a popular comedy duo in the Spanish cinema as Pili y Mili. Their films were engaging examples of European teen pop culture of the 1960’s.
Publicaciones sin ánimo de lucro y Ediciones Bacterium // presentan: #01 Fanzine Parasite/Parásito /// Para enterarse mas acerca del mundo biologico alien > Pedidos y puntos de distribución a: wosnanwsn@gmail.com ///
> $ 0.00 ¢
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Non-profit publications and editions Bacterium present: # 01 Fanzine Parasite / Parasite /// To learn more about the biological alien world > Orders and distribution points: /// wosnanwsn@gmail.com
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Nº53.
Lincoln Continental cabriolet (1941).
Escala 1/43.
"Car Collection" - Ediciones Del Prado (España).
Año 1999.
More info: perso.ya.com/gamas43/GAMAS43/Kiosco/CarCollection.htm
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A Line Of Its Own
"September 20, 1940. The 1941 Lincoln Continental becomes its own car line.
The first Lincoln Continentals were produced on a limited run basis as an addition to the Zephyr line. Advertised as a Zephyr with the “flavor of European boulevards,” around 400 were built from October of 1939 to September of 1940. They were almost completely handmade (to fit the many custom requests) and offered extensive interior options.
Based on the overwhelming response by the public and critics alike, the Continental became its own line, available in coupe and cabriolet. Refinements for the 1941 models included pushbutton door controls, an electrically-powered convertible top replacing the previous vacuum system and a dash-located hood-release replacing the former rotating hood ornament.
Bob Gregorie, head of styling and design, placed a new hood ornament on the Continental – which he referred to as a "speared golf ball" – that accentuated the length of the hood nicely. The 1941 Continental’s low lines, large windows and sleek frame was inspired by Gregorie’s and Edsel Ford’s shared love for the ease of an ocean yacht. That inspiration lives on in current Lincoln vehicles."
Source: www.lincoln.com.cn/en/heritage-this-week-in-history-septe...
More info:
en.wikipedia.org/wiki/Lincoln_Continental
auto.howstuffworks.com/1940-1941-lincoln-continental.htm
auto.howstuffworks.com/1941-lincoln-continental-cabriolet...
Nº53.
Lincoln Continental cabriolet (1941).
Escala 1/43.
"Car Collection" - Ediciones Del Prado (España).
Año 1999.
More info: perso.ya.com/gamas43/GAMAS43/Kiosco/CarCollection.htm
-----------------------------------------------------------------------------------------
A Line Of Its Own
"September 20, 1940. The 1941 Lincoln Continental becomes its own car line.
The first Lincoln Continentals were produced on a limited run basis as an addition to the Zephyr line. Advertised as a Zephyr with the “flavor of European boulevards,” around 400 were built from October of 1939 to September of 1940. They were almost completely handmade (to fit the many custom requests) and offered extensive interior options.
Based on the overwhelming response by the public and critics alike, the Continental became its own line, available in coupe and cabriolet. Refinements for the 1941 models included pushbutton door controls, an electrically-powered convertible top replacing the previous vacuum system and a dash-located hood-release replacing the former rotating hood ornament.
Bob Gregorie, head of styling and design, placed a new hood ornament on the Continental – which he referred to as a "speared golf ball" – that accentuated the length of the hood nicely. The 1941 Continental’s low lines, large windows and sleek frame was inspired by Gregorie’s and Edsel Ford’s shared love for the ease of an ocean yacht. That inspiration lives on in current Lincoln vehicles."
Source: www.lincoln.com.cn/en/heritage-this-week-in-history-septe...
More info:
en.wikipedia.org/wiki/Lincoln_Continental
auto.howstuffworks.com/1940-1941-lincoln-continental.htm
auto.howstuffworks.com/1941-lincoln-continental-cabriolet...
Fundación arteba permite la utilización en los medios de las imágenes subidas a su espacio de Flickr.
Agradeceremos que a modo de epígrafe de las mismas, se mencione: Gentileza Fundación arteba.
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arteba Foundation allows the reproduction of the photos uploaded in Flickr.
We appreciate if you credit them as Courtesy of arteba Foundation.
Exclusive manip de Ediciones ChmypImages no borrar marca de agua, Gracias. www.facebook.com/JenniferLawrenceIsSoPerfect <-- like
Han salido a la venta estos libros de "Quatenus Ediciones"
Las ilustraciones de las tapas son mias.
Se pueden comprar online y en determinadas librerias de Madrid, los textos son impresionantes,
os los recomiendo absolutamente.
This books from "Quatenus Ediciones" are recently available at some libraries at Madrid, but is posible also to buy them online in the web.
The illustrations of the covers are mine. The text are amazing, but in spanish....
Marvila. Atom. Año VII número 81. Junio 1 de 1962. Novaro Ediciones Recreativas México. Capítulos: EL ORIGEN DE ATOM. CHIRICUTO. EN EL CIRCO. LA BATALLA DE LOS TITANES DIMUINUTOS. DULCE MARIA. CORVINO. PANCHITO. LUCAS. LA ABUELITA. FFB