Pacem Te Poscimus Omnes. Edizione in 250 esemplari numerati, tirati su carta filigranata per incisioni con il procedimento dell'acquaforte e dell'acquatinta su torchi a mano. I disegni di Giacomo Manzù sono stati stampati in litografia. Cartella originale a fogli sciolti contenuta in una custodia originale. Ogni incisione è contenuta in un quartino insieme ad una riproduzione di una lettera manoscritta del personaggio internazionale a cui è dedicata. Il colophon indica la presenza di un bassorilievo, mancante nella nostra edizione. Testi manoscritti di S.S. Giovanni Paolo II, Madre Teresa di Calcutta, G. Andreotti, C. Bo, F. Cossiga, T. Dao Lee, V. De Sabbata, P. Dirac, A. M. Dziewonski, M. Gorbachev, P. Habib, H. Kanamori, P. L. Kapitza, G. Manzù, L. Palme, J. Pérez De Cuellar, R. Reagan, A. Salam, E. Steingräber, E. Teller, V. E. Weisskopf, J. Woodhouse, A. Zichichi. Complessivamente vi sono 20 incisioni + 1 introduttiva e una aggiuntiva finale all'interno del fascicolo nomitao "Autentiche". Vi sono quindi 22 incisioni di figura e 22 incisioni riproducenti il testo.

Traduzione di Carlo Izzo. Milano, Arnoldo Mondadori Editore 1967, cm.11x18,5, pp.453,(3), brossura, cop. fig. a colori. Collana Gli Oscar Settimanali, 133.

Catalogo della mostra tenutasi a Prato presso il Centro per l'Arte Contemporanea Luigi Pecci. Il primo volume è il catalogo delle opere pittoriche esposte mentre il secondo è il famoso Atlas nell'edizione München/Köln Lenbachhaus/Oktagon Verlag. 1997, 2 Volumi cm.28x35, pp. 197 e 387 in cofanetto rigido illustrato legature editoriali in tutta tela. Testi in Italiano e Inglese. First edition. The original publication Richter’s Atlas accompanied the first exhibition of what has become perhaps his single most significant artwork, the evolving, ever-expanding compendium of imagery that Richter began to amass in 1964 by collecting photos printed in newspapers, magazines and commonplace sources. Richter’s process gained momentum as he added new categories of material, including his own photos and drawings, as well as postcards, anonymous snapshots, landscape images, historical likenesses, pornography, architectural renderings, technical drawings and much else, all in an effort to encompass the vast array of visual data that has become increasingly ubiquitous. These images, affixed to a few hundred panels and arranged on the wall in grids, comprised the first exhibition of Atlas and this artist’s book--which consists of page after page of visual information without any text, even page numbers, to guide the viewer--was its first published form. Atlas has been exhibited on numerous occasions throughout the world and new publications have also followed, but even as the number of panels and images has expanded tenfold, both the form of the installation and of the book has remained essentially that which was set forth her by Richter in 1972. Richter has stated on several occasions that Atlas is governed by no overriding logic or polemical position. It is not an image bank, an archive, or a system of typologies. It is, as the name implies, a cartographic effort. Yet it is a mapping project that remains necessarily unfinished. For Richter, this incompleteness is key; as he sees it, the central dilemma confronting the contemporary artist is the Sisyphean inevitability with which any aesthetic vision will ultimately fail to transform a world that is increasingly defined by the massive proliferation of visual imagery. Thus Atlas is both the visual and the existential context that frames Richter’s artistic output and, as such, it is one of the truly crucial documents of contemporary art.