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Italian postcard, unknown photographer. Ebano, nr. 140. Probably late 1910s or 1920s.
Paola Borboni was one of the greatest stage actresses of Italy (1900 - 1995). She also played in many films. She was often heard on the radio and seen in television, but her true passion was the stage.
Born near Parma on New Year's Day 1900, as daughter of a lyrical impressario, Paola started to act on stage at age 16, and at age 18, she was already ' prima attrice' next to Romano Calò and later on Irma Gramatica, in particular in the lighter genre, helped by her beauty and her uninhibited behaviour. When playing a mermaid in 1925, she showed her breasts, creating a scandal, but reacting: 'Ever seen a mermaid wearing a coat?' With the years her roles become more mature and complex. In the 1930s and 1940s she played for two seasons with Ruggero Ruggeri and in 1934 she also founded her own company. She'd play anything, from D'Annunzio to Shaw, but Pirandello was her favorite. In the postwar era she played twice on stage under direction of Luchino Visconti: in Vittorio Alfieri's Oreste (1949), and in Arthur Miller's The Crucible/Il Crogiuolo (1955). In the 1950s and 1960s she became famous for her monologues on stage. In the postwar era she was also famous for her open air theatre performances all over the country.
From 1918 on, Paola Borboni also played in (mostly Italian) films, starting with the silent film Jacopo Ortis (1918), a Milano Film production, directed by Guseppe Sterni and based on Ugo Foscolo's novel. Until 1921 Borboni played in 6 silent films, directed by Sterni, Giuseppe Guarino and Eugenio Perego. After that, she exclusively focused on the stage, until the mid-1930s, when she returned with the female lead in Gennaro Righelli's sound film Lo smemorato (1936), costarring Angelo Musco. From then on she had a steady and continuous output of film performances, sometimes in supporting roles as in the Tito Schipa vehicle Vivere (Guido Brignone 1937), sometimes female leading parts as in Ho perduto mio marito (Enrico Guazzoni 1937), Ricchezza senza domani (Ferdinando Maria Poggioli 1940), and Il viaggio del signor Perrichon (Paolo Moffa 1943). Mostly, however, Borboni played supporting parts in sound cinema, both before, during, and after the war. She thus had substantial or minor parts in classic titles of Italian film history: the school principal in the comedy Il biricchino di papà (Raffaele Matarazzo 1943), the Russian princess in Sorelle Materassi (Poggioli 1944), the actress Dejanira in La locandiera (Luigi Chiarini 1944), Matilde in Roma ore 11 (Giuseppe De Santis 1952) , the aunt baroness in Pietro Germi's Gelosia (1953), a charwoman in William Wyler's Roman Holiday (1953), signora Rubini in I vitelloni (Federico Fellini 1953), the mother of Bruno Sacchi in Terza liceo (Luciano Emmer 1954), signora Monti in Casta diva (Carmine Gallone 1956), Rosa in L'oro di Roma (Carlo Lizzani 1961). the duchess Moretti in Arabella (Mauro Bolognini 1967), Immacolata in Per grazia ricevuta (Nino Manfredi 1971), Mrs. Baldi in La cage aux folles II (Edouard Molinaro 1980), sister Theresa in Yes, Giorgio (Franklin Shaffner 1982), and the marchioness of Querceto in the Johnny Dorelli comedy Occhio, malocchio, prezzemolo e finocchio (Sergio Martino 1983). All in all, Borboni played in 86 films.
From 1942 to 1946 Paola Borboni had a relationshop with the Sicilian actor Salvo Randone. In 1972 the by then 72-years old Borboni married poet and actor Bruno Vilar, who was 40 years younger than she was. In 1978 they had a terrible car accident,which killed Vilar and crippled Borboni. Borboni, though, continued to play in films until 1990. While staying in a home in Varese, Paola Borboni died in 1995 because of an ichtus and she was buried in the family tomb in Parma.
Sources: IMDB, Wikipedia.
Agrandissement vignette d'une bande dessinée publicitaire de 1955.
(Imprimerie PELLERIN. Epinal. Janvier 1955)
Walking along Via Roma (Via Toledo) in Naples.
The piazza is called Piazza Carita.
Ristorantes on the left.
On the right is Napolitano Alberto Pianoforti.
Italian postcard, no. 48. Photo Sciutto, Genoa.
Irma Gramatica (1867-1962) was an Italian stage and screen actress, known for her qualities but also her temper.
Irma Gramatica, originally Maria Francesca Gramatica, was born 25 November 1867 in Fiume, Italy (now Rijeka, Croatia). She had two sisters, both actresses as well: Emma and Anna. Though born Maria Francesca, she was called Irma from her childhood, as in Carnia, Friuli, where she was raised all Mariafrancesca’s were called Irma. She was the daughter of Domenico Gramatica and the Hungarian Cristina Bradil, respectively a prompter and a seamstress in the company of Luigi Monti. Already at the age of five years she debuted on stage in the drama Cause ed effetti by Paolo Ferrari and immediately showed enormous potential. In her girlhood she starred alongside the great players of the time such as Cesare Rossi, Jacinta Pezzana, Flavio Andò and Eleonora Duse, supporting them in Fedora by Victorien Sardou. She joined them in a major tour through South America, where first symptoms of imbalance began to appear. Irma indeed tried to commit suicide by eating exotic fruit contaminated by yellow fever. The reason is unknown but seems linked to difficulties related to a great inner pain, not to sentimental origins. At seventeen she married the actor Arnaldo Cottin and they had a son the following year. With Cottin she returned to Argentina two years after, but during the tour, the child, left back in Italy, died, and the incident led to the separation of Gramatica and her husband. While remaining in Argentina, Irma contracted meningitis from which she was saved, but anemic and weakened by an intense nervous breakdown she suffered a deep depression, beginning to perceive her existence as an unbearable burden.
After her return to Italy, in 1892 she became First Young Actress in the company of Italia Vitaliani and Vittorio Salsilli in 1892, and in 1895 First Actress, under the guidance of Napoleone Mozzidolfi and directed by Alessandro Marchetti. Under the guidance of V. Valli she perfected her outstanding temperament, suitable for a very wide repertoire. Irma proved to be sensitive both to the new theatre as well as the romantic authors of the 19th century. After leaving Duse’s company Irma entered that of Ermete Zacconi, an actor whom the same Gramatica said "had absolute influence on the conduct of my artistic faculties." From here began her great successes that led to the birth of the famous stage company Talli -Gramatica-Calabresi. Irma was the first Nennele in Come le foglie by Giuseppe Giacosa, Lisa in Dal tuo al mio by Giovanni Verga, Paolina in Sperduti nel buio by Roberto Bracco and especially Mila di Codro in La figlia di Jorio, which Gabriele D'Annunzio had written especially for Duse but who, because of illness could not perform it on stage.
Irma had a grumpy and irritable character, and had as she called itself a severe nature. She always tried to be approached as little as possible, admitting to detest interviews, feeling a real phobia for them and almost always rejecting them. In the late 1930s and early 1940s she was active as film actress at the new Cinecittà studios, sometimes paired with her sister Emma as in Sissignora (Fernando Maria Poggioli 1941) and Sorelle Materassi (Poggioli 1944). Her young co-actors in those years were e.g. Laura Adani, Clara Calamai, Maria Denis, Maria Mercader and Anneliese Uhlig. Irma also played the widow Pescatore in the Italian version of Il fu Mattia Pascal (Pierre Chenal 1937), starring Pierre Blanchar. Immediately after the war she had an important part in the refugees film Lo sconosciuto di San Marino (Michał Waszyński 1946), for which Cesare Zavattini had written the script. Her last part was in Incantesimo tragico (Mario Sequi 1951), a period drama about a cursed treasure, set in the Maremma region. Irma Grammatica died in Villa Giuseppina at Tavarnuzze on 14 October 1962.
Sources: Italian Wikipedia, IMDB.
Grazie alla nostra esperienza ventennale a seconda delle esigenze del cliente realizziamo qualsiasi tipo di lavorazione di cuscineria con i miglior tessuti vinilici e non.
Per l'esterno utilizziamo su richista gomma a cellula chiusa (idrorepellante).
Si producono divani, cuscini prendisole di poppa e di prua, divani in pelle o tessuto, materassi su misura, cuscini ornamentali, divanetti, guida e rivestimento cuscini in spugna.
Thanks to our decades of experience depending on the client's needs we produce any kind of processing of cushions with the best fabrics and vinyl.
For external use on richista closed cell rubber (idrorepellante).
We produce sofas, cushions and stern thruster, sofas in leather or fabric, custom mattresses, decorative pillows, sofas, cushions foam and coating guide.
The Taj Mahal
Sunday 15 July 1990
Bombay and Camden Town
Emma, Emma, Emma. Emma, come stai? E cosa stai facendo in questo momento esatto? Qui a Bombay siamo sei ore avanti, quindi forse sarai ancora a letto con il classico doposbornia domenicale, nel qual caso SVEGLIA! SONO IO, DEXTER! La missiva ti arriva da un ostello nel centro di Bombay con dei materassi schifosi e l'acqua calda che va e viene. La guida dice che l'ostello ha carattere (leggi: topi), ma la mia stanzetta ha perfino un tavolino da picnic con la tovaglia di plastica accanto alla finestra e ora fuori piove a dirotto, più forte che a Edimburgo. VIENE GIÙ A CARRETTATE, Em, così forte che faccio fatica ad ascoltare la cassetta della compilation che mi hai preparato e che, detto fra noi, mi piace da matti a parte quei miagolii indie perché, tutto sommato, non sono una RAGAZZINA. Ho provato anche a leggere i libri che mi hai regalato a Pasqua, ma devo confessarti che trovo Casa Howard di una noia mortale. Per duecento pagine continuano a bere la stessa tazza di tè, e così aspetto sempre che qualcuno tiri fuori un coltello o che arrivi un'invasione di extraterrestri ecc., ma col cavolo che ci sarà, vero? Quando smetterai di cercare di erudirmi, mi chiedo? Speriamo mai.
Emma, Emma, Emma. How are you, Emma? And what are you doing right this second? We’re six hours ahead here in Bombay, so hopefully you’re still in bed with a Sunday morning hangover in which case WAKE UP! IT’S DEXTER!
This letter comes to you from a downtown Bombay hostel with scary mattresses and hot and cold running Australians. My guide book tells me that it has character i.e. rodents but my room also has a little plastic picnic table by the window and it’s raining like crazy outside, harder even than in Edinburgh. It’s CHUCKING IT DOWN , Em, so loud that I can barely hear the compilation tape you made me which I like a lot incidentally except for that jangly indie stuff because after all I’m not some GIRL . I’ve been trying to read the books you gave me at Easter too, though I have to admit I’m finding Howards End quite heavy-going.
It’s like they’ve been drinking the same cup of tea for two hundred pages, and I keep waiting for someone to pull a knife or an alien invasion or something, but that’s not going to happen is it? When will you stop trying to educate me, I wonder? Never I hope.
Italian postcard by S.A. Grafitalia, Milano (Milan), no. 10. Photo: Film Lux. Publicity still for I Promessi Sposi/The Spirit and the Flesh (Mario Camerini, 1941) with Dina Sassoli as Lucia Mondella.
Dina Sassoli (1920-2008) was an Italian stage and screen actress, who broke through with I promessi sposi (Mario Camerini 1941).
Dina Sassoli, born in Rimini on 15 August 1920, became famous internationally by her performance as Lucia in the film I promessi sposi (The Betrothed, 1941) by Mario Camerini. The success also came with a twist, as she married a young journalist, who, considered antifascist by the government, disappeared in 1942. Devastated, Sassoli almost gave up her career. In the war years she had leads in e.g. Nessuno torna indietro (Alessandro Blasetti 1943, released 1945), adapted from the novel of Alba de Cespedes. In this film on seven college girls she plays Milly, a shy and romantic girl who loves music and falls in love with a blind man, but then suddenly dies. Her co-stars were Valentina Cortese, Maria Mercader, Doris Duranti, Elisa Cegani Mariella Lotti and Maria Denis.
Memorable titles from the postwar era were the war drama Un giorno nella vita (Alessandro Blasetti 1946), Umanità (Jack Salvatori 1946), and Il mulino del Po (Alberto Lattuada 1948). In Un giorno nella vita Sassoli was one of the nuns who take care of a group of partisans, after which German revenge follows. In Umanità, a little known production, she is a young refugee who sincerely suffered the war and has an affair with a refugee camp doctor, until her fiancé shows up and the doctor goes back to his wife. The film was shot in the makeshift refugee camp in Cinecittà. In Il mulino del Po, Sassoli plays the sister of Jacques Sernas.
However, Sassoli discovered the stage in the postwar era as well, acting with Vittorio Gassman in Kean and with Gino Cervi in Cyrano de Bergerac, and also with Anna Proclemer and Gabriele Lavia. Until the mid-1980s – and with an intermission between the mid-1950s and 1970 - Sassoli would act in mostly smaller parts in about fifty films made by directors such as Guido Brignone, Corrado d’Errico, Mario Mattioli, Camillo Mastrocinque, Larry Peerce, Giuliano Montaldo, Giuseppe Bertolucci and Luigi Comencini, and, alongside such actors as Clara Calamai, Amedeo Nazzari, Carlo Ninchi, Gino Cervi, Ruggero Ruggeri, Antonio Centa, Carlo del Poggio, Eduardo De Filippo, Peppino De Filippo, Vittorio De Sica, Aldo Fabrizi, Aroldo Tieri, Massimo Girotti, Eleonora Rossi Drago, and Cesco Baseggio. Her last film parts were in Voltati Eugenio (Comencini, 1980) wiith Francesco Bonelli, Oggetti smarriti (Giuseppe Bertolucci, 1980) with Bruno Ganz, and in La storia (Comencini, 1985) starring Claudia Cardinale. Of Sassoli's TV performances best remembered is her interpretation in the 1972 television drama Sorelle Materassi directed by Mario Ferrero. Famous was her tormented love affair with Massimo Serato who ultimately left her for Anna Magnani. Dina Sassoli died in Rome on 24 March 2008.
Sources: Italian Wikipedia, IMDB, Christophe Lawniczak at Ciné-Artistes, www.cineartistes.com/fiche-Dina+Sassoli.html.
Firenze, campanile di San Miniato al Monte, visto dal Cimitero delle Porte Sante.
Questo campanile è famoso nella storia perchè durante l'assedio imperiale del 1530 fu usato come torre d'osservazione e bersagliato dagli spagnoli. Su di esso sono ancora visibili i segni delle cannonate. Michelangelo allora lo salvò rivestendolo con materassi che respingevano le palle di cannone.
Florence, the belltower of San Miniato al Monte, seen from the Porte Sante Cemetery.
This bell tower is famous in the history because during the 1530 imperial siege it was used as tower of observation and bombarded by the Spaniards. On it they are still visible the signs of the cannonades. Then Michelangelo saved it dressing it with mattresses that rejected the balls of gun.
Le camere Superior Executive dispongono di materassi Privilege Beautyrest Simmons che, grazie al sostegno anatomico dalle straordinarie qualità, si contraddistingue per l’insuperabile comfort.
Official Website:
Blog English Version:
florence-hotel-brunelleschi.com/
Blog Italian Version:
magazine.hotelbrunelleschi.it/
Our Group on Flickr
Nikon D90
AF-S Niikor 12-24mm G ED DX
Lunghezza focale 12mm.
F16 1/200 sec.
100 ISO
Ma quanto pesano i materassi? Molto, almeno a giudicare dal sistema che viene usato per spostarli.
Materassi Marco
Carni fresche = fresh meat
Bovine ovine suine = beef lamb pork
Avicunicole = ?
E selvaggina = and game
Bella, resistente e funzionale, tutta la tappezzeria nautica per interni Hydromirò è realizzata su misura da disegni personalizzati e seguendo il gusto del cliente.
La produzione comprende cuscineria, divaneria, prendisole, fly-bridge, materassi per cabina, cuccette, tendaggi e moquettes. Si adottano diverse tecniche di lavorazione dei materiali come ad esempio il capitoneé per la pelle (naturale o sintetica).
Beautiful, durable and functional, all marine upholstery for interiors Hydromirò is tailor-made to custom designs and according to the customer's taste.
The product range includes cushions, sofas, chairs, flybridge, mattresses cabin, bunks, curtains and carpeting. It adopt different processing techniques of materials such as capitoneé for the skin (natural or synthetic).
Il ricercatore mentre esegue dei campionamenti nella cava, per analizzare i "materassi" sotto il profilo geologico (credits: Lyn Wadley). Leggi l'articolo su Galileo (www.galileonet.it) e Wired (www.wired.it).
I partecipanti allo stage della Scuola Lumagong
Stage di Taiji Quan e Qi Gong
con il M. Aldo Materassi
Viceno di Crodo Val Formazza
11-12 Luglio 2009
Lezione di Taiji Quan.
Stage di Taiji Quan e Qi Gong
con il M. Aldo Materassi
Viceno di Crodo Val Formazza
11-12 Luglio 2009
Grazie alla nostra esperienza ventennale a seconda delle esigenze del cliente realizziamo qualsiasi tipo di lavorazione di cuscineria con i miglior tessuti vinilici e non.
Per l'esterno utilizziamo su richista gomma a cellula chiusa (idrorepellante).
Si producono divani, cuscini prendisole di poppa e di prua, divani in pelle o tessuto, materassi su misura, cuscini ornamentali, divanetti, guida e rivestimento cuscini in spugna.
Thanks to our decades of experience depending on the client's needs we produce any kind of processing of cushions with the best fabrics and vinyl.
For external use on richista closed cell rubber (idrorepellante).
We produce sofas, cushions and stern thruster, sofas in leather or fabric, custom mattresses, decorative pillows, sofas, cushions foam and coating guide.
La produzione HydroMiro comprende cuscineria, divaneria, prendisole, flybridge, materassi per cabina, cuccette, tendaggi e moquettes. Si adottano diverse tecniche di lavorazione dei materiali come ad esempio il capitoneé per la pelle (naturale o sintetica).
The production HydroMiro includes cushions, sofas, chairs, flybridge, mattresses cabin, bunks, curtains and carpeting. It adopt different processing techniques of materials such as capitonèe for the skin (natural or synthetic).
La produzione HydroMiro comprende cuscineria, divaneria, prendisole, flybridge, materassi per cabina, cuccette, tendaggi e moquettes. Si adottano diverse tecniche di lavorazione dei materiali come ad esempio il capitoneé per la pelle (naturale o sintetica).
The production HydroMiro includes cushions, sofas, chairs, flybridge, mattresses cabin, bunks, curtains and carpeting. It adopt different processing techniques of materials such as capitonèe for the skin (natural or synthetic).
HydroMirò con sede a Venezia produce e vende cuscineria e copricuscini nautica. ... tappezzerie nautiche - tappezzerie per imbarcazioni - tappezzerie barche ... materassi su misura, cuscini ornamentali, divanetti, guida e rivestimento cuscini in spugna.
HydroMirò based in Venice produces and sells cushions and cushion covers boating. ... nautical wallpaper - upholstery for boats - boats upholstery ... made mattresses, decorative pillows, sofas, cushions foam and coating guide.
jumping on the biggest mattress of the world in Vallo della Lucania, where the greatest Fariello mattress company has achieved this amazing record!!
i wanna jump higher..
Adesso puoi provare il materasso che preferisci direttamente a casa prima dell'acquisto. Conosci la nuova soluzione Evergreenweb e condividila con i tuoi amici, in regalo riceverai lo sconto speciale
Taiji festival Maggio 2009 - Belgioioso
Alcuni momenti di pratica
Il M. Roberto Duch
Il M. Aldo Materassi
La produzione HydroMiro comprende cuscineria, divaneria, prendisole, flybridge, materassi per cabina, cuccette, tendaggi e moquettes. Si adottano diverse tecniche di lavorazione dei materiali come ad esempio il capitoneé per la pelle (naturale o sintetica).
The production HydroMiro includes cushions, sofas, chairs, flybridge, mattresses cabin, bunks, curtains and carpeting. It adopt different processing techniques of materials such as capitonèe for the skin (natural or synthetic).
La produzione HydroMiro comprende cuscineria, divaneria, prendisole, flybridge, materassi per cabina, cuccette, tendaggi e moquettes. Si adottano diverse tecniche di lavorazione dei materiali come ad esempio il capitoneé per la pelle (naturale o sintetica).
The production HydroMiro includes cushions, sofas, chairs, flybridge, mattresses cabin, bunks, curtains and carpeting. It adopt different processing techniques of materials such as capitonèe for the skin (natural or synthetic).
HydroMirò con sede a Venezia produce e vende cuscineria e" copricuscini nautica. ... tappezzerie nautiche - tappezzerie per imbarcazioni - tappezzerie barche ... materassi su misura, cuscini ornamentali, divanetti, guida e rivestimento cuscini in spugna.
HydroMirò based in Venice produces and sells cushions and "pillow .... nautical nautical wallpaper - upholstery for boats - boats ... tapestries made mattresses, decorative pillows, sofas, cushions foam and coating guide.
Taiji festival Maggio 2009 - Belgioioso
Alcuni momenti di pratica
Il M. Roberto Duch
Il M. Aldo Materassi
Taiji festival Maggio 2009 - Belgioioso
Alcuni momenti di pratica
Il M. Roberto Duch
Il M. Aldo Materassi
credo di aver detto praticamente a chiunque che i primi di aprile sono stata in portogallo, per la precisione a castelo de vide, un paesino minuscolo e fighissimo al confine con la spagna.
è stato una specie di minierasmus condensato con tutte le cose positive dell'erasmus (vino a litri, quaranta persone da tutta europa con cui convivere per dieci giorni, escursioni, sbornie, divertimento e notti insonni) e senza nessuno degli aspetti negativi (non dovevo studiare e quindi ho imbarcato il fegato come bagaglio a mano).
il gruppo era ospitato in un ex-convento del 1700, ristrutturato in maniera assurda con un mix fighissimo di mobili antichi e moderni, e costellato di strane lampade che sembravano enormi materassi bianchi.
dato che nel gruppo eravamo 4 o 5 fotografi, una sera qualcuno ha avuto l'idea di costruire una scatola luminosa usando i 'materassi', quindi siamo andati in giro per la casa a rubarli dalle stanze, ci siamo dati da fare con prese e collegamenti, e il risultato è stato questo:
abbiamo dunque passato metà di una nottata a fotografare gente fighissima e ubriaca che non vedeva l'ora di farsi fotografare, ovviamente mezzo ubriachi anche noi, e l'altra metà della notte non me la ricordo ma son sicura che ci siamo divertiti.
queste son le foto che ho salvato, dato che la luce per quanto bella era molto molto bassa e tutte le foto che ho fatto erano mosse e con tantissima grana.
magari non diranno un granché, ma a me ricordano bellissime persone e un bellissimo posto.
(ho anche delle foto su pellicola dello stesso viaggio, ma se ci tenete a vederle lasciate un messaggio a www.flickr.com/photos/andsoforever/ che ha promesso di scansionarmi i negativi un mese e mezzo fa. grazie.)
---
i went to portugal for a youth exchange during the first week of april.
we stayed in a small town called castelo de vide,we were forty from all europe and we stayed in a ooold huge house (that was a nunnery in 1700, and now has been renovate and filled with strange old furnitures). there were some photographers between us, and the house was filled with strange mattress-shaped lamps, so a night we took 4 lamps and we build a sort of lightbox using them.
then we called everybody in the house and we started taking pictures of the people sitting on the armchair. it was really funny, because we were all a bit drunk and everybody wanted to be photographed and we were like 4 or 5 paparazzi taking tons of pictures, drinking and having fun with everybody.
sooo nice!
anyway, these are the pictures i took.
it was funny but a bit hard, because the light was soft and pretty but really poor, so all the pictures i took are a bit moved and really grainy.
after some photoshop, these are the ones i like.