Le nozze di Cadmo e Armonia.

Milano, Adelphi Ed. 1991, cm.14x22, pp.487, brossura copertina figurata a colori. Coll.Gli Adelphi,26.

Milano, Adelphi Edizioni 1988, cm.14x22, pp.465, brossura, sopraccop.fig.a col. Coll.Biblioteca,200.

Milano, Super Pocket su licenza Adelphi 1997, cm.12x18, pp.463, brossura copertina figurata a colori.

Testo di Alcide Spaggiari. Reggio Emilia, Bizzocchi Ed. 1981, cm.25,5x31, pp.172, num.tavv.bn.ft. legatura ed.soprac.fig.

Traduz.di Cino Chiarini. Firenze, Le Monnier Ed. 1923, cm.11x17,5, pp.XXVII,177, brossura Coll.Poeti e Pensatori Stranieri.

Fotografie di Gian Luigi Scarfiotti, Note storico-geografiche del Centro Studi Storici Chiantigiani. Firenze, Consorzio del Marchio Storico 1993, cm.24,5x21, pp.319, oltre 300 ill.a col.nt.raffiguranti etichette dei vini delle fattorie del Chianti. brossura cop.fig.

Art Inst of Chicago 2025 cm.23x29, pp.111, legatura editoriale in tutta tela. An acrobat, carpenter, railroad repairman, and two-time naval war veteran, sculptor H. C. Westermann (1922–1981) rose to prominence in Chicago in the 1950s with new forms inspired by his personal experiences. This overdue reassessment of an understudied artist includes stunning new photographs of Westermann’s intricate and exceptionally crafted sculptures throughout his career. New essays by Giampaolo Bianconi and Thea Liberty Nichols explore his nonconformist attitudes about masculinity and his intense response to the horrors of war—a recurring theme in Westermann’s sculpture following his return from service in the Korean War—as well as his experiments with wordplay, connection to conceptualism, and astonishing contributions to American art. An interview with artist Ed Ruscha, who knew and admired Westermann and his attention to craft, gives context to Westermann’s complex role as an unpretentious father figure to American conceptual and pop artists.