Storielle ebraiche.

Traduz.di B.F. Torino, Giulio Einaudi Editore 1952, cm.11x17, pp.276, 34 figg.in bn.ft., brossura, sovraccop. figurata. Piccola Biblioteca Scientifico-Letteraria,49.

Milano, Arnoldo Mondadori Ed. 1967, cm.11x18,3, pp.248, tascabile, copertina figurata a colori. Collana I Classici del Giallo,21.

Vol.VI: Il Settecento. L'età Neoclassica. L'Arte in Italia dall'epoca romantica alla fine dell'Ottocento. Orientamenti dell'Arte italiana nel primo quarantennio del nostro secolo. Torino, UTET 1967, cm.22x29, pp.XII,405, oltre 300 fra ill.e tavv.bn.e col.nt. legatura ed. sopraccop.ill.a col.

Gregory R. Miller 2026, cm.16x33, pp.240, illustrato legatura editoriale cartonata , copertina figurata. A feeling of suspended animation haunts the work of Canadian artist Erin Shirreff (born 1975), melding historical reference and the present tense of live encounter. Shirreff favors the stark geometries of mid-20th-century abstraction, and often engages works of art?Donald Judd's concrete buildings, Tony Smith's monoliths?to ask broader questions about the act of looking. Contemplating what is lost and gained when art is filtered through the camera's eye, Shirreff's spare, evocative works compel new forms of attention. This is the first comprehensive monograph to capture the breadth of her studio practice, richly illustrated and featuring new scholarship by art historians Megan R. Luke, Kate Nesin, Taylor Walsh and Jeffrey Weiss, and an original text on Shirreff's experiments with cyanotype by author Rivka Galchen.