Diana e la tuda. Diana e la Tuda. Sagra del signore della nave. Bellavita.

Milano, Arnoldo Mondadori Ed. 1941, cm.13,5x20, pp.732, legatura editoriale con sopraccoperta figurata a colori. Collana Omnibus.

Prefazione di Corrado Alvaro. Verona, Mondadori Ed. 1944, 2 volumi. cm.13,5x20, pp.XII,1346,1160, legature editoriali cartonate Collana I Classici Contemporanei Italiani.

Verona, Mondadori Ed. 1949, 2 voll. cm.15x21,5, pp.730,757, legature editoriali caftonate, sopracoperte. Collana Omnibus.

Verona, Mondadori 1953,1954, 2 voll. cm.14x20, pp.727,732, legature editoriali cartonate. (vol.I, cop.leggermente lenta). Collana Omnibus.

Torino, Foyer del Piccolo Regio 30 Agosto – 1 Ottobre 1978. A cura di Albino Galvano. Città di Torino 1978 cm.17x24, pp.104, brossura con copertina figurata a colori. Evangelina Emma ALCIATI, Vittorio AVONDO, Giambattista ALLOATI, Romolo BERNARDI, Giacomo BALLA, Leonardo BISTOLFI, Federico BOCCARDO, Marcello BOGLIONE, Agostino BOSIA, Giuseppe BOZZALLA, Cino BOZZETTI, Domenico BURATTI, Marco CALDERINI, Felice CARENA, Giovanni CARPANETTO, Vittorio CAVALLERI, Felice CASORATI, Arturo CONTERNO, Domenico Maria DURANTE, Lorenzo DELLEANI, Aldo FALCHETTI, Carlo FOLLINI, Cesare FERRO, Adelaide FRASSATI AMETIS, Mario GACHET, Nicola GALANTE, Pietro GARIAZZO, Francesco GARRONE, Giovanni GRANDE, Giacomo GROSSO, Giovanni GUARLOTTI, Alessandro LUPO, Cesare MAGGI, Ugo MALVANO, Camillo MERLO, Metello MERLO, Anton Maria MUCCHI VIGNOLI, Matteo OLIVERO, Luigi ONETTI, Filippo OMEGNA, Oreste PIZIO, Giuseppe PELLIZZA DA VOLPEDO, Carlo POLLONER, Giuseppe RICCI, Enrico REYCEND, Mario ROVIGLIONE, Camillo RHO, Giovanni ROVERO, Cesare SACCAGGI, Giuseppe SOBRILE, Romolo UBERTALLI, Andrea TAVERNIER, Felice VELLAN

Introduction by Mark Rosenthal. New York, Guggenheim Museum 1997, cm.25x32,5, pp.148 illustrato a colori. brossura con copertina figurata a colori. From the Introduction: "An exhibition of Robert Delaunay's series is an idea full of resonance for the Guggenheim Museum. We are particularly rich in the holdings of this pioneering artist of Modernism. Indeed, with one example from the 'Saint-Severin' series, two from 'The City,' three from 'The Eiffel Tower,' and two from 'The Windows,' we were able to approach our colleagues and private collectors during the planning stages of this exhibition with the firm knowledge that a thorough examination of the subject would be mounted. Delaunay's achievements have always been related to those of his Cubist colleagues, but this exhibition should help to individualize his contributions. He not only added a coloristic dimension to the structural innovations of Cubism, but he also produced imaginative views of the modern city of Paris conveyed in a modern art style. In contrast to most of his fellow Cubist painters, he willingly accepted the ramifications of Cubism by exploring pure abstraction. Delaunay's advances were eagerly applauded and followed by artists in Germany, who then carried forth the mission of abstraction. Thus, Delaunay was not simply a member of the Cubist orbit, but a highly accomplished artist who created new directions during a time when many competing tendencies abounded."