I pilastri di Atlantide. Un grande diluvio distrusse e ricreò la storia.

Traduzione di Elisa Frontori. Milano, Fabbri 2005, cm.13,5x20,5, pp.440 ill.bn. legatura editoriale, copertina figurata a colori. Coll.I Grandi Misteri. Dove si trova realmente la tomba di re Artù? E dove è sepolta la "vera croce"? A queste domande rispondono gli autori del libro i quali, servendosi di antichi documenti storici, dimostrano che in realtà i britanni non furono mai interamente conquistati dai romani, ma interagirono con essi creando una dinastia imperiale. Dopo l'arrivo di Giuseppe d'Arimatea, questa si convertì al cristianesimo e diede origine a un regno Sacro dal quale discese Costantino che portò alla conversione l'impero romano intero. Ma il destino del Regno Sacro non finì con la conversione e condusse a un movimento di resistenza che respinse le forze responsabili del crollo europeo del Medioevo. Un periodo in cui si distinsero due re britanni, entrambi di nome Arturo.

Milano, Fabbri 2005, cm.13,5x20,5, pp.396, legatura editoriale, copertina figurata a colori. Coll.I Grandi Misteri.

Traduzione di Fabrizia Fossati. Milano, Fabbri 2005, cm.13x21, pp.398, alcune figg.bn.nt. legatura editoriale, copertina figurata a colori.

Edited by Natalie Bell and Massimiliano Gioni. New Museum of Contemporary Art 2016, cm.17x24, pp.288, legatura editoriale cartonata, copertina figurata. The Keeper accompanies an exhibition dedicated to the act of preserving objects, artworks and images. Through a variety of imaginary museums, personal collections and unusual assemblages, it offers a reflection on the impulse to save both the most precious and the apparently valueless, and reveals the devotion with which artists, collectors, scholars and hoarders have created sanctuaries for endangered images and artifacts. Through works spanning the 20th century, The Keeper tells the stories of various individuals through the objects they chose to safeguard. Some, such as Roger Caillois’ collection of rare stones and Harry Smith’s string figures, pursue a universal syntax. Other collections were not so much kept as withheld, such as Hilma af Klint’s suite of abstract paintings from 1906–15, which she kept hidden for decades after her death, venturing that her work would be better appreciated beyond her own time. Shinro Ohtake’s feverishly collaged scrapbooks burst with found materials as free associations of images and everyday ephemera. In a ceremonious personal custom, Ye Jinglu had a studio portrait of himself taken every year for decades. These photos, preserved by Tong Bingxue, represent collecting as a mode of auto-ethnography that inadvertently also traces social and political changes over time. The centerpiece of the book is a vast display conceived by Ydessa Hendeles, composed of over 3,000 family-album photographs of people posing with teddy bears, and vitrines containing antique teddy bears.

Firenze, Vallecchi 1974, cm.25x34, centinaia di pagg.e tavv. a col.appl.nt. legatura editoriale in tutta tela,sopraccoperta figurata a colori.

Milano, Tip.Domenico Salvi 1871, cm.12,5x19, pp.344, brossura

Paris, Textuel 2004, cm.21,5x21,5, pp.220 ill.a colori. brossura copertina figurata. "Etre chat, c'est le rêve, même moi qui suis moche, obèse, grognon, voleur, et toujours en train de griffer, mes maîtres m'adorent!" Tels sont les chats de Forlani : plus insupportables et plus adorables que jamais ! Dans le petit théâtre du dessinateur, ils occupent la place du philosophe plein de bon sens et de sens critique à l'égard de la comédie humaine. Car le chat, confident attentif et bienveillant de l'homme, se délecte de ses crises identitaires, de ses familles recomposées et autres "mères porteuses". Pour la première fois, Forlani invite de nouveaux figurants aux côtés de ses fameux chats : non seulement des chiens, mais d'autres bestioles aussi incongrues que des autruches ou des éléphants...