The Italians and the Creation of America.

English edition. Textes by Dr. Heinz Fischer, Prof. Agnes e Prof. Karlheinz Essl, Wieland Schmied, Sara Smidt, Francesco Bonami, Andreas Felber e Gottfried Knapp. 15.03.2007 - 26.08.2007. 35th Anniversary of the Essl Collection. Wien, Sammlung Essl, 2007, Three volumes enclosed in a cardboard slipcase. cm.24x30, pp. Profusely illustrated in color. softcover. A spectacular retrospective and catalogue of this extensive and comprehensive collection. Wonderful color illustrations throughout.

Edited by Shepard Fairey. Exhibition held at Moscow Museum of Modern Art. Wunderkammern 2018, cm.21x26, pp.212, ill.col. legatura editoriale in mezza tela, copertina figurata a colori. Fairey's solo show at Moscow Museum of Modern Art (MMOMA), curated by Wunderkammern. The catalogue is an exclusive edition, rich with remarkable details and images, concerning the first exhibition in Russia by the American artist Shepard Fairey. Entitled "Force Majeure", the exhibition was held at Moscow Museum of Modern Art.

Musee Picasso, Chateau gfrimaldi, Antibes. 1983, cm.24x22, pp.104, ill.a colori. brossura copertina figurata a colori.

A cura di M. Corgnati e E.Mascelloni. Firenze, Polistampa 2022, cm.14x19, pp.216, illustrazioni a colori. brossura. Testo Inglese. It's the catalog of the exhibit held in Florence from 3rd December 2021 until 5th June 2022. Conceived as a real 'solo', the exhibition is the first in an Italian museum dedicated to investigating the deep relationships that Leoncillo had with the ancient, archaic and clas-sical, as well as with the great masters of the Renaissance and Baroque, throughout its thirty years of activity (1938-1968).The collaboration with other Florentine museums and institutions is consolidated: one of Leoncillo's most famous works is, in fact, exhibited at the National Archaeological Museum of Florence to underline the continuity of a fruitful dialogue between contempo-rary art and the past, in this case with the artistic expression of the ancient Etruscans, whose creations impressed Leoncillo with their profound understanding of human feelings suspended between love and death, life and afterlife.The exhibited works, about thirty sculptures, panels and papers, highlight the continuity of gaze that runs through the entire work, beyond the more traditional classifications based solely on stylistic criteria: in fact, from the hybrid and monstrous beings of 1939 until the last and celebrated decade in which the experience of matter triumphs, through the neocubist season (1946-1955).